So pleased to see tremolo on a bass board, and to see behind the scenes on a musical. It's a very interesting world, especially for bassists switching from 5-strings to uprights to other things.
Your explanations followed by actual demos makes it an excellent video to see and hear. Thank you for the insights. Your setup is clean, streamlined, effective and hi-fi, very nicely executed. Your playing is excellent.
13:36s ...Ooo ...this could SO slip into "Sledgehammer" 😊 Great video Ian, and well explained, really illustrates the multi level skill, experience and sound crafting that's behind a professional production. Top job.
Again.. extremely impressed. Your an extremely solid pit player, that’s an art form and genre within itself that most people look past but your what I imagine when I think of a theatre player
Absolutely brilliant peek behind the curtain at the wizard ! You’ve been teaching me techniques for a few years now via Player’s Path in Scott’s Bass Lessons, and I thank you. I admire your style; so intelligent and distinguished, something that is sorely lacking in popular culture today. Thank you for being the positive force that you are in musical society and life in general.
Hi Michael, I can’t thank you enough for your kind words, it means a lot. It can feel strange putting yourself ’out there’ online like this, so it’s great to hear people have found it helpful. Very cool that you’ve been going through my courses on SBL! Which ones have you done? The Soul and R&B ones or the Funk ones? Cheers, Ian
@@iankingbass …and I can’t thank YOU enough for taking the time for your personal response. I’m honored. I just recently discovered the “Pathways” in SBL, because of the Funk Pathway. I’ve recently decided that my practice regimen has been in a bit of a rut, although I’m still finding value in pursuing level 8 in The Players’ Path. Getting the ghost notes right in Kolkata is a beast for me, and that bar of 16th notes in Garage Fire is a daily exercise. I’ve been using a metronome to work up to the 125 BPM. It’s strange that I can feel the rhythm correctly up to 118 BPM, but above that, the feel kind of disappears. Physically I can do it, but I get a bit off, and I can’t tell if I’m playing it a bit fast, or a bit slow. So the journey continues. As far as the Funk Pathway, I just recently watched several lessons in level 1, and I felt I deserved to find a slightly higher level to begin on, but I still need to do that. Your explanations are so clear and applicable, I understand why Scott has partnered with you on these courses, and he is MOST fortunate to have done so ! Thank you, my bass brother. Actually, I should call you my bass Sifu, if I may !
@@michaelanthony9068 Great that you're making the most of all the courses on SBL, and you're definitely doing the right thing working at slower tempos to start with and working up from there. Rome wasn't built in a day and I see no point in rushing things, you'll get there. Glad you're enjoying the Funk Pathway, I reckon you'll enjoy Courses 6 onwards especially.. By the time you get to Course 7 there are tracks in the style of Joe Dart, Francis Rocco Prestia, Bernard Edwards, Flea, Larry Graham and Mark King, so loads to get stuck into! All the best to you - Ian
What an eye-opener! As an amateur bass player, getting back into gigging, this has scratched the itch I've had for years, as my bass teacher was Mike Nichols, who I guess you know, he was in the pit for The Jersey Boys at the time and he also plays Overwaters! . The mystique of the theater pits! A marvel to hear your precise, musical playing and advanced ability to create the perfect sound for the song and orchestra. The kit, discussions and example (and exemplary!) playing are so refreshing and informational. Thank you, thank you. 💪👍👏
Thanks so much for this, it means a lot. I know Mike Nichols quite well, we both live in the same town! He’s a great guy who’s been around on the scene for years 👍🏼
This was so fire thank you so much … also you and the guy singing Thomas Jefferson … ATEEE!! Y’all connected and rocked out there for a solid few minutes
This is a great, really in-depth rig rundown. I’m on bass in a progressive rock band, so am always on the lookout for insights OUTSIDE of Prog-Land. 👍😁
Great video and INCREDIBLE PLAYING!!! VERY IMPRESSIVE SKILLS AND VERSATILITY!!! That Overwater J looks and sounds AMAZING!!!! I replaced the standard pickups in my Sire V75 with Bartolini dual coils and they made a HUGE DIFFERENCE IN THE TONE!!! (R.I.P Bill Bartolini) Thank you for posting this!
Thanks Christian! Only took me 5 years! 😆Will try to release more regular content going forward. I think I'll continue in a similar vein to this video by talking about the pedalboard I use on gigs outside the show, both on electric, and when I'm doubling on electric and upright too.. Plus, there'll be some straight Bass Guitar Lessons coming soon, watch this space!
Very interesting video and superb playing--- I wonder if you noticed that Ian did a separate comment to everyone who posted here--- no copy and paste so they all get the same 'thanks very much'. I'm impressed with that attention to details! Well done!
Hi Aaron, thanks for the message, I appreciate that! Yeah, I figure with such positivity coming my way, the least I can do is reply to the messages properly. Thanks again, Ian 👍🏼
Absolutely fascinating run though, thanks v much. As someone who doubles on electric and DB (sometimes in the same tune!) it's a relief to hear you say you like to have the 'always on tuner' too!
So funny coming across this video and hearing Phil’s name! I remember bumping into him on the tube once and having a great conversation about work and gear! Absolute legend 2:34
Hi @UncleChoppy Thanks very much, really appreciate that, and glad you enjoyed the video! I'm planning a few more videos in a similar vein soon, showing my mini pedalboard and also my board for 'doubling gigs' (outside of the show). Watch this space! Cheers, Ian
Very solid playing and nice presentation. Overwater Bass sounds great 👌🏿 I'm a Status Graphite S2 Classic 5 Strings Headless Bass owner (tuned ADGCF) Greetings from Uganda 🇺🇬👊🏿🖤🤍
Hi there, thanks! I've always loved Status basses, and I owned a T-Bass once.. It was their version of a Super J.. It was great but quite heavy.. I bet your Series 2 sound amazing tuned down a tone!
@@iankingbass oh yes, the T Bass is such a great axe! 👌🏿Do you still have it? Yes, the S2 sounds very good tuned down, B strong is tight. I use the Elixir Nanoweb Stainless Steel Bass Strings on it, a match made in heaven.
Just subbed 💕 im a bassist of 20+ years and an aspiring theatre pit bass player. I have been reading for the last 5 years and sitting in (to observe) my first pit next jan. Cant wait
Thanks @CurranKevin Kind of you to say. I think Overwater are now selling basses through Reverb and something called Semitone too. Might be worth checking them out on there. Cheers - Ian
Thanks Geoff, really appreciate that! Btw, you won't remember this, but you taught me at a residential Jazz course at Wavendon when I was about 16.. So that'd be... ahem, about 30 years ago now!
Fabulous Video Mate … That 5 string sounded amazing :) & looks incredible!!! Seems like Overwater basses are the go to bass for all you London cats in the pit :) Great video again, very interesting… Great playing too :) All the best - Grant 🇦🇺
@@iankingbass Is every note written out for you on a show like Hamilton? Or is it more like a session with a chord chart... you play the notable hooks, but you have room to add a little personality to other parts?
Hey Ian, as an aspiring pit player, it’s really great seeing what goes on behind the scenes. I’m sure you’ve been asked this many times but how do you get into playing in the pit?
Hi Flynn, thanks for that.. That's a difficult question to answer in just a few words here, but essentially it's about gaining experience on smaller productions, making good contacts along the way and getting noticed by the 'fixers' who are essentially the agents who book musos for this kinda work.. You tend to start out as a 'dep' (or 'sub' on Broadway) and then work up to being the 'chair holder', and hopefully you'll get asked to do bigger and bigger shows as time goes on.. The main thing is to be a good person to work with, bringing a happy, positive vibe to everything you do.. Hope that helps, Ian
I'm curious about your string gauge on the Overwater. The B string obviously sounds massive at that scale but how different is the feel and playability of the rest of the strings with a 35 inch scale? Would love hear more about how you set the John East onboard EQ... The EBS EQ for that matter too. You have such an awesome tone with that bass. Great video and a very unique perspective into the pro bass player world. Thanks!
Hi Matt, thanks for the message.. Interestingly, I find that when you go 'up a size' in terms of scale length (to 35" in this case) you need to go 'down a size' in string gauge to counteract the extra tension the longer scale length is creating... I like a bit of 'give' in the strings too, so I don't see the point in having huge tree-trunk strings on my basses.. The Elixirs feel perfect, and I think that, underneath the coating there's actually a very good quality string.. The feel great and sound deep and warm with just the right amount of snap at the top end.. I should do another video detailing the settings on the John East and EBS preamp I think! It's all about those mids! Cheers, Ian
There’s some really funky phrasing (in Yorktown for example) where you’re playing these great lines but also ornaments that are like little trills (I play them but have no idea what they’re called) and it makes me really wonder how much of that is written into the score vs, how much of your own funkiness is making it in. Bartonlini’s sound great also 😮
Hi Gerald, thanks very much! The parts for Hamilton are well written and quite specific, but I always try to bring a bit of my personality and style to proceedings.. I’ve stretched out a bit in a fair few of these examples.. but hopefully it’s still in keeping with the general vibe of the song y’know.. Cheers, Ian
@@iankingbass I mean, I know the musical real well (as just an enjoyer) and it was very plausible that it was in the book. but also, you're a dangerous man. *chef's kiss*
This was absolutely fascinating. Thank you so much for sharing. I play electric bass but am also trying to improve my upright and synth bass as well. It’s inspiring to see you doing all three so well. The EBS Stanley Clarke is a great pedal. I also love my Nordstrand Starlifter and Bergantino Super Pre. I have a bad habit of buying preamps!
Hi Chris, thanks for that! I think they've worked out that us bass players like a good preamp pedal, and now there are too many to choose from! The Nordstrand and Bergantino ones look great too, I'm gonna check them out now! Cheers, Ian
Hi August, thanks very much! Those pickups are from the Classic Bass series… I have another Overwater 5 with the newer B-Axis pickups in too.. They’re a bit livelier in the top end.. Love em!
Hi Walt, thanks for that. That’s a good question actually. There are some amazing compressors out there now, and I often lust after the Origin one, but I find that for theatre work I need to play in a very dynamic way, sometimes very quiet and other times really laying into it! A compressor would bring up my quieter notes (as well as bringing down my peaks) so I tend to avoid using one on my theatre rig. Hope that helps, cheers - Ian
Hi there, thanks for that.. Yorktown seems to be very popular, I'll have a think about putting a tutorial together, showing how I approach it.. Cheers!
Hi Matt, thanks for that. With shows they tend to expect an acoustic upright bass, and the sound team will usually do a great job mic'ing it up.. Saying that, I tried an SLB300-pro a while ago and was really impressed.. Certainly more portable, that's for sure!
@@iankingbass nice. I just got an slb300. My normal gig is with the symphony, and I did t want to try to setup my orchestra bass for jazz…enter Yamaha! Not ideal, but compared to the risk of different strings/pickup/action-made sense for me. Hope your Hamilton gig is going well! It’s one of my fav all time shows. Tix sales are finally slowing a bit in the US. CHEERS!
Love it, thank you so much for doing this! Must be a lot of fun to play. The basses sound killer! Did you say what strings you use for the Overwater bass? Cheers from Berlin!
On the Lakland have you ever tried putting some foam under the bridge to give a more muted staccato sound? A lot of players do it but the first that comes to mind is Sean Hurley.
Hi Jon, thanks for the message. Yes that'd work too, I just seem to be into this 'palm muitng' thing at the mo. I watched the SBL interview with Sean Hurley and completely fell in love with his sound. Talk about deep, rich and warm, it's utterly sublime! I looked up his signature bass immediately (with the on-and-offable mute) but balked when I saw the price, it seems a lot for a P-bass don't you think?
@@iankingbass Yeah. I have a Japanese P bass and it's delightful. The P is supposed to be a simple, workhorse instrument so beyond ultra fancy woods how much better can a P get? Sean Hurley still plays his 60s Ps with foam under the bridge. I don't think I've seen him play his sig model. Though saying that, a friend had a Pino Palladino signature P and said it was the most responsive, resonant, and balanced instrument he'd ever played and he's had Alembics, Foderas, Wals. Maybe the perfect P is out there, and I know I can't afford it.
@@joninawhitecoat I totally agree that a P-Bass is supposed to be a straightforward bass with no frills, so it’s a bit gutting when the prices of certain models go through the roof… The one thing I would like, is one with a thin finish, especially on the back of the neck.. I’m not hugely into the thick gloss finishes.. Nitrocellulose is obviously the best, but then the price starts skyrocketing.. Maybe I should get a fairly affordable Fender and get my sandpaper out!
@@iankingbass I've got a mid 90s Japanese Jazz that has quite a light finish on the back of the neck. It's a rosewood board so it wouldn't have the thicker finish that maple gets. I don't know if this is indicative of the period but if mid 90s Japanese Fenders with rosewood boards have quite light finishes on the neck, maybe keep an eye out for a P from that time for a workhorse bass. If you really wanty a thick deep bass tone have you considred a Gibson SG bass? The standard has a thicker gloss finish but there's a heritage model that I think is just wax. I have one, it cost £900ish and it feels like a Warwick. Pretty much unfinished and I use the Warwick wax on it. It's a short scale and I have flats on it so the tone from the neck pup is pure thud.
Hi Ian, I do have a general question for jobs like yours as a resident musician. From the instruments down to "small" stuff like strings/cables/etc as well as maintenance for your instruments/equipment: Is this something you (the musican) pays for him/herself or is this covered/provided by the theatre or the production? When I think about non-music jobs I'd expect work-related equipment to be provided, but I've been wondering for a long time, how this works for musicians :) Anyway, thanks again for providing content like that! :) This is a super interesting video with some great playing!
Hi there, thanks for the message.. Great question.. Generally you’re expected to provide your instruments and pedal boards.. well, everything except the D.I. box to be honest… But for Hamilton, some of the sounds they wanted were quite specific so they were kind enough to pay for the pedalboard and pedals, the Lakland Hollowbody and the keyboard.. and maintenance of those is covered by the show.. The main Overwater Bass and the upright are mine though so I’ll sort the strings and maintenance for those 👍🏼
This is such a fantastic video! I love playing musicals on bass, but I'm yet to sit in a pro pit, so it was a fantastic insight for me! I'm very curious as to your thoughts on a hx stomp (digital amp emulation) for bass for pit??
Hi there, thanks for that. I think processors like the HX Stomp are getting better and better, and for many people are becoming a one-stop solution. Personally, I like to keep things analogue and I like to be able to grab a control on the fly and adjust it right there and then.. So, it's horses for courses really.. I'm thinking I should make more content about the various pedal setups I use.. Maybe that'd be useful...
very interesting video thanks. that bass sounds great. curious the pickup blend you use? do you favor the bridge pickup a little more? any tunes with slap and if so to you put the blend down the middle for that? ill see this show eventually!
Hey there, thanks for the question.. I tend to set the blend to about 60% Bridge pickup, 40% Neck pickup.. There's not a lot of Slap in Hamilton, but when I do I'll set the pickups to 50/50 for that classic slap tone.. I don't scoop out the middle though, that's where all the information is! Cheers, Ian
Great video. What made you gravitate towards MXR pedals with the combo of 2 Octaves, Chorus & Tremolo? Have you thought 💭 about adding Reverb & Delay on your upright and passive bass sounds? Thanks 🙏🏽.
Hi there, thanks for that! The MXR pedals were used by the original bassist on Broadway, Richard Hammond, so that was the starting point in the UK. Well, the octaves at least. I have 2, so I can ‘set and forget’ them and use them on different songs. A subby setting without the original note for ‘Washington on your side’ and more of a classic octaver sound for ‘Blow us all away’.. Very handy to have 2 of the same pedal there!
Hi Ian. Brilliant playing and brilliant video 🙂👌I notice you don't have a compressor pedal on your board. I'm often undecided whether to use one or not on my own gigging board (Just wondered what your thoughts are regarding using comp pedals?) 🤔
Great vid - thanks so much for taking the time to do this. Couple of Qs - Do you have sight line to the conductor or are you watching him via monitor? Also - I notice you're using printed music rather than a big ipad/page turner - is that just preference?
Hi Kev, thanks for the message.. In answer to your questions, the sightline to the MD isn’t amazing (he’s quite high up!) but these days they always put a camera on the MD and we all have small monitor screens next to our music stands which makes things a lot easier.. no straining necks to see what’s going on!… And I tend to stick with paper music so I don’t need to worry about an iPad glitching or randomly going wrong on me.. Bit old school I guess, but there we go! Ha.. Cheers, Ian
Wonderful video and l love the sound of that Overwater bass. I see no compressor in the effects; what is your thoughts on including a compressor pedal as well??
Hi Chris, thanks for that. You're right, I tend to avoid using a compressor for theatre work so I can be as dynamic as possible. That's not to say I don't like compressors though, they can be invaluable for some setups.. I'd love to try the Origin one..
Are you reading the actual sheet music or are you using charts? Thanks! I’m a little late on your video but it just popped up in my feed and I’m glad it did! Just subscribed. Looking forward to seeing more.
Hi bks252! Thanks for the message. Shows like this are pretty heavily notated, and Hamilton especially so. Saying that, I’ll still try to bring it to life a bit with a few extra cheeky fills here and there. Thanks for subscribing, I’ll be putting more videos out this year, so watch this space! All the best, Ian
Can you do a video that actually shows us what a Broadway show bass book charts look like? Almost like shadowing you or being able to read over your shoulder while you’re playing?
Hi nourishmentforthesoul, thanks for the message. This is a good idea really, and it’d give a proper idea of where I’m embellishing the notation. For this show though, I think I’d get in trouble if I shared the charts publicly, so I’d better be careful on this occasion. They’re quite protective of the written music for Hamilton. But I’ll definitely bear it in mind for future videos I put out! I could even put something out specifically showing this. Anyway, cheers - Ian
This was really informative, particularly as I'm doing very amateur pit / support volunteering for music students. May I ask 2 questions? Would you say that your EBS preamp is representative of EBS tone for their other products / speakers when not going DI? It sounds just what I'm looking for, and as for the pickups: there appear to be 2 versions of the Bartolini dual coil J pickups - the original and the newer classic. Do you know which you have? Thank you for your time.
Hi there, thanks for that, much appreciated! I love EBS gear and I would say that the Stanley preamp is typical of their sound signature. If I was asked to describe the EBS sound in one word it would be ‘Alive’.. Their products seem to nail the ‘clean’ sound with a bright and punchy sound.. (they obvs have great drive sounds too, when needed!).. I love EBS amps too.. From their smaller kickback combos to their huge 8x10 rigs.. In answer to your other question, these pickups are from the Classic Bass series… Cheers, Ian
Hi Dave, I actually had the carpenters at the theatre make a kind of 'cradle' which is attached to the ceiling. It's padded and wrapped in felt and means I can pretty much throw the bass at it and it stays in an upright position till I next need it.. Very handy!... The quick changes can be the hardest thing with these gigs!
What a brilliant video, thank you so much for sharing. I use the original Bartolini pickups in my fretless Jazz so I know how great they sound. I also thought the Lakland sounded brilliant and its got me interested in what a fretless version would sound like. By the way, what strings are you using on the Overwater?
Hi Linus, thanks very much for that. I use Elixir strings and love em! They last forever! I use the Nickel ones and a slightly thinner than usual gauge of 40-60-75-95-125 Cheers, Ian
@@iankingbass Thanks Ian, I must admit, Elixir is one brand of strings I've not tried although I have heard of them. I'm a huge Rotosound fan and either use their Swing 66 Nickel Hybrid on my Jazz basses or their Jazz 77 Rounds on my P- Bass. Changing over to Nickel strings was a revelation for fretless. Keep up the great work and look forward to the next video, Cheers, Michael
Great video, thanks! What is the double bass pick up you mention a few times, Bauer, Bower? If you’ve tried both, how does it compare to the realist pickups?
Hi there, thanks! The double bass pickup is called a 'Bass Balsereit' doublebassguide.com/?p=37 I had a realist before and I find this fuller, with a lot more bottom end.. You have to get a luthier to drill a 'conical' hole into your bridge (a hole that gets progressively wider) but once it's there it's a great fit, very confidence inspiring.. Cheers, Ian
For the bass playing how did you record this video? You've not got cans on which you said you'd have on for a performance, so wondering how you're hearing the music and how the bass got recorded and mixed. A beautiful tone you've achieved on that Overwater! I've a Lakland JO5 with a J-Tone from John East and you've inspired me to get more out of the tone settings.
Hi there, thanks for the message.. I actually am wearing an in-ear monitor in this video.. I’m deaf in my right ear, so I’m wearing a ‘UE SS’ which is a single sided model.. a pair of in-ears all in one side! I recorded this performance on a spare personal monitor in the pit, and set up a mix without click to make it a bit easier on the ear.. Cool that you have the J-Tone circuit in yours, I’m gonna get that put in my 4-string as I’ve heard good things about it.. Cheers, Ian
@@iankingbass thanks for the in-depth and interesting replies! It's very cool that the examples of you playing were recorded live during the show. I wasn't sure whether the music was pre-recorded from the show and you recorded over that later at your leisure or whether it was done live. Your playing to my amateur ears is so musical and on the money, it's a joy to listen to. Thanks for the info about the in-ear monitors. It's great you have dealt with your hearing problem so well - another source of inspiration for aspiring bass players!
Greetings Ian. Thank you for your rig roundup. I was curious about what percentage of charts giving to you from all your gigs are bass clef vs treble clef?
Hi @bassedthechannel, thanks for the message! For the 5-string I try to do most of the EQ’ing on the bass itself and leave the EQ flat on the channel it’s plugged into on the Stanley preamp. On the bass I’ll add a smidge of v low end and a bit of low mid to cut through the mix. I’ll add a bit of treble as the strings start dying too! These particular Barts (classic series CBJD) have a great sounding low mid, so that’s why I accentuate that a fair bit. Oh and lastly, I set the treble frequency quite low on the uni-pre (inside the cavity), so it’s kinda affecting the high mids a bit too, as you’ve rightly noticed. Cheers, Ian
Hi there, thanks for the message... I think there might already be a video of the band playing Yorktown floating around online somewhere, I'll have a look.. Cheers, Ian
This is so awesome - thanks Ian! Two questions (apols if you have mentioned already): 1. Do you have a mute switch for the DPA mic on the bass in case you need to tune or is that fully controlled by front of house? 2. Is there anything else beyond instruments in your IEM mix (e.g. click, a talkback mic or some sort). Generally curious on how much you play to click for the show
Hi there, thanks for the message, and the questions.. 1) There is a mute for the DPA, but I think the sound team have got so slick with muting things at the end of tunes that it's not that important that I use it these days.. I do mute the pickup though, as that's quite loud in my cans and I don't want to hear the double bass crashing around whilst I'm putting it back in it's 'holster'! 2) I recorded a separate mix for this video, on a spare personal mixer in the pit.. I do have click, track, MD talkback, 'Comms', 'House mic' and all the other instruments in my ears too.. Thought it'd be nice to do a mix without the click though, as everyone complained last time I uploaded a vid with the click in 😆(To be fair it does sound quite harsh!)
Thank you for this video, really great to see your set up. Question about the score, with it being so iconic but also very hip-hop, how much freedom do you have? Some of the fills You played whilst demoing sounds sound so natural So I wondered how many of them are written out fully
Hi Christocakes, thanks for that. That's a great and very valid question! I've been lucky enough to do mainly Pop/Soul/R&B style shows over the years and, as a rhythm section player you're often booked because of what you can bring to the part. I remember having a lot of freedom on 'The Book of Mormon' and 'Dreamgirls' for example. Hamilton however is quite different. The vibe is more of 'reproducing a hit album each night' and with the lyrical content being so important, it makes sense to stick to the part and not overplay. For example, think of 'Washington on your side' - if I was to play more than what you hear in this video, you wouldn't be able to hear the rapped lyrics! But saying that, I have found a few moments in the show where I can stretch out a bit and I've featured quite a few of them in this video! I would always play this much - maybe it was a Saturday night! 😆
Hi there, thanks! There isn’t so much slapping in this show. There was a bit more in the previous show I did - ‘Dreamgirls’. If you search ‘Amber Riley on the Graham Norton show’ you can hear me slapping my Overwater Bass. I’m the one at the back, looking serious! 😆
Thanks Neil! This is version 2 of the Hamilton pedalboard. When I first joined there was a more complicated version (which was a bit overkill if I'm honest), but after a couple of years it needed maintenance so I asked if they'd spring for a 'spare board' whilst the first one was off getting looked at. That was ok'd and I had more free rein in putting this one together. (The original board has now become the spare!). I went for the MXR pedals again because that's what the sound team was used to hearing, but was very pleased to be able to include the EBS Stanley Clarke Preamp and the GigRig Quartermaster switcher... The Fishman Platinum Pro EQ was on the last board too and I ordered that again because it works well and sounds great.
Hello there.. I don’t tend to use compression in a theatre setting because quite often you’ll have to play very subtly/quietly, and a compressor would be boosting my quiet notes, so would feel a bit counterintuitive.. They’ll definitely be using compression out front tho! Cheers, Ian
Hi George, thanks for that, and good question! These days, most shows have at least some double bass in them, so it's worth getting the basics together at least. When I started out in the west end, about 20 years ago, it seemed to be 5-string and fretless bass which was most asked for. These days it seems to be P-Bass, 5-String Jazz Bass, Double bass and quite often a bit of synth too! This is more for the 'pop' shows though. There are still more traditional shows which might only need Upright Bass or a regular electric bass for example. In terms of the standard of playing on upright, it's never anything too virtuosic, but you'd need to be confident with the bow, and there's often a big band style tune, so you'd need to have your walking chops together too. Hope that helps, cheers - Ian
@@iankingbass Thanks so much for the detailed answer, much appreciated! As a long shot, no pressure to know the answer here, are there any upright brands or varieties that are cheap but surprisingly good? Or alternatively, does anyone ever turn up with an electric upright?
Awesome rig rundown! I think you've got everything covered there Ian. Modern electric, vintege electric, double bass pizz, double bass arco/bow, keybass... Is there anything missing? Super classy.
![BLACK BAG - Official Trailer [HD] - Only in Theaters March 14](http://i.ytimg.com/vi/Du0Xp8WX_7I/mqdefault.jpg)
So pleased to see tremolo on a bass board, and to see behind the scenes on a musical. It's a very interesting world, especially for bassists switching from 5-strings to uprights to other things.
Thanks very much, really glad you enjoyed it, cheers - Ian
Your explanations followed by actual demos makes it an excellent video to see and hear.
Thank you for the insights.
Your setup is clean, streamlined, effective and hi-fi, very nicely executed.
Your playing is excellent.
Hi there, thanks so much! Glad you enjoyed it, I figured the musical excerpts would help demonstrate everything.. Cheers for the kind words, Ian
Great video! I’m a classically trained bassist getting into the musical world on electric bass. This is super helpful!!!
Hi there.. Glad to hear it's been useful.. Cheers, Ian
As someone who is a fan of the instrumentation in that show, this was a real treat. You’re an amazing player too.
13:36s ...Ooo ...this could SO slip into "Sledgehammer" 😊
Great video Ian, and well explained, really illustrates the multi level skill, experience and sound crafting that's behind a professional production. Top job.
Hey Jimmy, thanks so much, I appreciate that. And I see what you mean about the Sledgehammer vibes!
Again.. extremely impressed. Your an extremely solid pit player, that’s an art form and genre within itself that most people look past but your what I imagine when I think of a theatre player
Thanks muchly!
Very cool! Your playing is outstanding, so smooth
Thanks very much, that means a lot 🙏🏼
From a former semi-pro bassist this is really great, very interesting indeed how you guys make it happen and the work involved. Thanks.
Thanks so much, I’m chuffed you liked it!
Such a good video! I’d love to see more rig run-downs from pit musicians. And man, what a killer player you are! Keep up the great content.
Thanks Jake, nice of you to say! Cheers, Ian
Thanks for a great bass-in-the-pit-video Ian King! Perfect to show my bass students how it can be working in the theatre world!
Nice one, thanks!
That Overwater bass sounds amazing and your playing is just brilliant.
Thanks very much! Cheers, Ian
Absolutely brilliant peek behind the curtain at the wizard ! You’ve been teaching me techniques for a few years now via Player’s Path in Scott’s Bass Lessons, and I thank you. I admire your style; so intelligent and distinguished, something that is sorely lacking in popular culture today. Thank you for being the positive force that you are in musical society and life in general.
Hi Michael, I can’t thank you enough for your kind words, it means a lot. It can feel strange putting yourself ’out there’ online like this, so it’s great to hear people have found it helpful. Very cool that you’ve been going through my courses on SBL! Which ones have you done? The Soul and R&B ones or the Funk ones? Cheers, Ian
@@iankingbass …and I can’t thank YOU enough for taking the time for your personal response. I’m honored. I just recently discovered the “Pathways” in SBL, because of the Funk Pathway. I’ve recently decided that my practice regimen has been in a bit of a rut, although I’m still finding value in pursuing level 8 in The Players’ Path. Getting the ghost notes right in Kolkata is a beast for me, and that bar of 16th notes in Garage Fire is a daily exercise. I’ve been using a metronome to work up to the 125 BPM. It’s strange that I can feel the rhythm correctly up to 118 BPM, but above that, the feel kind of disappears. Physically I can do it, but I get a bit off, and I can’t tell if I’m playing it a bit fast, or a bit slow. So the journey continues.
As far as the Funk Pathway, I just recently watched several lessons in level 1, and I felt I deserved to find a slightly higher level to begin on, but I still need to do that. Your explanations are so clear and applicable, I understand why Scott has partnered with you on these courses, and he is MOST fortunate to have done so !
Thank you, my bass brother. Actually, I should call you my bass Sifu, if I may !
@@michaelanthony9068 Great that you're making the most of all the courses on SBL, and you're definitely doing the right thing working at slower tempos to start with and working up from there. Rome wasn't built in a day and I see no point in rushing things, you'll get there. Glad you're enjoying the Funk Pathway, I reckon you'll enjoy Courses 6 onwards especially.. By the time you get to Course 7 there are tracks in the style of Joe Dart, Francis Rocco Prestia, Bernard Edwards, Flea, Larry Graham and Mark King, so loads to get stuck into! All the best to you - Ian
Proper, heavyweight players. Thanks for giving us a little insight into your world! Would love to see more in depth lessons on playing Hamilton tunes.
Thanks very much! More videos on the way for sure!
Loved seeing you in the pit! Loved hearing some of the the bass to Hamilton. Awesome playing. You make it look so effortless!🫶🏻
Thanks Char! See you soon! Ian
What an eye-opener! As an amateur bass player, getting back into gigging, this has scratched the itch I've had for years, as my bass teacher was Mike Nichols, who I guess you know, he was in the pit for The Jersey Boys at the time and he also plays Overwaters! .
The mystique of the theater pits! A marvel to hear your precise, musical playing and advanced ability to create the perfect sound for the song and orchestra. The kit, discussions and example (and exemplary!) playing are so refreshing and informational. Thank you, thank you. 💪👍👏
Thanks so much for this, it means a lot. I know Mike Nichols quite well, we both live in the same town! He’s a great guy who’s been around on the scene for years 👍🏼
This was so fire thank you so much … also you and the guy singing Thomas Jefferson … ATEEE!! Y’all connected and rocked out there for a solid few minutes
Hi @@RedHairedRiot, thanks a lot, really appreciate it 🙌🏽
This is a great, really in-depth rig rundown. I’m on bass in a progressive rock band, so am always on the lookout for insights OUTSIDE of Prog-Land. 👍😁
Nice one Mark, glad you enjoyed it 👊🏼
Great video and INCREDIBLE PLAYING!!! VERY IMPRESSIVE SKILLS AND VERSATILITY!!! That Overwater J looks and sounds AMAZING!!!! I replaced the standard pickups in my Sire V75 with Bartolini dual coils and they made a HUGE DIFFERENCE IN THE TONE!!! (R.I.P Bill Bartolini) Thank you for posting this!
Hi Keith, thanks so much for the comments, it means a lot and I really appreciate you saying that. All the best to you, cheers - Ian
Been following you on IG ever since you started playing in Hamilton. So sick to see some fresh footage from you in the pit!
Thanks Christian! Only took me 5 years! 😆Will try to release more regular content going forward. I think I'll continue in a similar vein to this video by talking about the pedalboard I use on gigs outside the show, both on electric, and when I'm doubling on electric and upright too.. Plus, there'll be some straight Bass Guitar Lessons coming soon, watch this space!
Very interesting video and superb playing--- I wonder if you noticed that Ian did a separate comment to everyone who posted here--- no copy and paste so they all get the same 'thanks very much'. I'm impressed with that attention to details! Well done!
Hi Aaron, thanks for the message, I appreciate that! Yeah, I figure with such positivity coming my way, the least I can do is reply to the messages properly. Thanks again, Ian 👍🏼
Absolutely fascinating run though, thanks v much. As someone who doubles on electric and DB (sometimes in the same tune!) it's a relief to hear you say you like to have the 'always on tuner' too!
Thanks@@jake_stacey Glad you enjoyed it! And yes, an always-on tuner is very useful I find!
So funny coming across this video and hearing Phil’s name! I remember bumping into him on the tube once and having a great conversation about work and gear! Absolute legend 2:34
Hi there, ah yes.. Phil is a lovely guy, he’s always been very positive and supportive towards me.. which is a trait of the best players I find..
I absolutely loved this - would love to see how the score looks and more of what you see as you play!
Thanks for this.. That would be a good idea actually.. I’m not sure I’d be allowed to put that out tho.. Not sure, will check! Cheers, Ian
Wonderful playing and sounds. You are very talented and skilled Also you explain your craft so well. Absolutely fascinating stuff.
Hi @UncleChoppy Thanks very much, really appreciate that, and glad you enjoyed the video! I'm planning a few more videos in a similar vein soon, showing my mini pedalboard and also my board for 'doubling gigs' (outside of the show). Watch this space! Cheers, Ian
Loved this inside view. Great playing!
Thanks a lot Kevin!
Fantastic playing and engaging, clear explanations. Thank you!
@@6fretless Thanks for checking it out 👍🏼
Very solid playing and nice presentation. Overwater Bass sounds great 👌🏿
I'm a Status Graphite S2 Classic 5 Strings Headless Bass owner (tuned ADGCF)
Greetings from Uganda 🇺🇬👊🏿🖤🤍
Hi there, thanks! I've always loved Status basses, and I owned a T-Bass once.. It was their version of a Super J.. It was great but quite heavy.. I bet your Series 2 sound amazing tuned down a tone!
@@iankingbass oh yes, the T Bass is such a great axe! 👌🏿Do you still have it?
Yes, the S2 sounds very good tuned down, B strong is tight. I use the Elixir Nanoweb Stainless Steel Bass Strings on it, a match made in heaven.
Man, that Overwater sounds so good... thanks for this video, Ian! You're a fantastic player.
Thank you kindly!
Absolutely amazing to see this stuff. Love the music and the playing
Thanks so much, really appreciate it and glad it was helpful 👍🏼
that upright is beautiful, I love your work 🔥
Thanks so much, very kind of you to say
Great rundown! Very interesting.
Thanks Jordan 🙌
Thanks, awesome run down and great skill techniques
Thanks very much!
Great insight into your world. Thanks for posting. loved it
Hi Sean, glad you enjoyed it, cheers - Ian
Just subbed 💕 im a bassist of 20+ years and an aspiring theatre pit bass player. I have been reading for the last 5 years and sitting in (to observe) my first pit next jan. Cant wait
Hi @nostromoalien2 Thanks for the sub, good to meet you! Great to hear you're getting involved in this type of thing, best of luck with it all! Ian
yeah! Ash+maple+noiseless jazz puckups - allso my choise! Great video! Great everything
Nice one, yeah it's a good choice I think. Thanks for the feedback, cheers - Ian
This is really such a helpful video, thank you Ian
No worries, really glad you liked it 👍🏼
so much knowledge ian, thank you so much for sharing
Hi CuchoCanton, thanks for that, very kind of you to say! Watch this space for more vids this year, and beyond. Cheers, Ian
Awesome video! Both a bass player and Hamilton lover. Not really a fan of musicians, but when my wife had me listen to it some, I was hooked!
Nice one, thanks Wally!
Really nice insights from the pit :)
Hi @AllAboutBasses (great name btw!)! Thanks muchly, glad you enjoyed it! Ian
I loved this! Really instructive in a number of ways. (Love those Overwaters, btw; wish they were a bit easier to get in continental Europe.)
Thanks @CurranKevin Kind of you to say. I think Overwater are now selling basses through Reverb and something called Semitone too. Might be worth checking them out on there. Cheers - Ian
Love this. I’ve been looking for the music good this for c years
Thanks very much! 👍🏼
You’re a crazy solid upright player dude.. very much so enjoy that type of balanced playing
Cheers!
Really nice interesting vid!
Thanks Will 👊
I like the sound of your 5 string very much! Awesome!
Thanks.. Overwater basses are great! Very consistent too!
Great video Ian, you have a great presenting style and sound great
Thanks Geoff, really appreciate that! Btw, you won't remember this, but you taught me at a residential Jazz course at Wavendon when I was about 16.. So that'd be... ahem, about 30 years ago now!
@@iankingbass wow wah wee wah, you haven’t changed much ha
@@geoffgascoyne63 True true, I have retained my youthful....ness..
Such great playing
Thanks Joanna, very kind 🙏🏼
Awesome stuff, Ian!
Thanks Andy, see you soon!
@@iankingbass looking forward to getting to play together again!
You are such a great player, Ian!
Thanks very much, very kind!
Loved the insight! Thanks!
Cheers!
Fabulous Video Mate … That 5 string sounded amazing :) & looks incredible!!! Seems like Overwater basses are the go to bass for all you London cats in the pit :) Great video again, very interesting… Great playing too :) All the best - Grant 🇦🇺
Thanks for the kind words Grant! Yeah, Overwater basses are mega! overwaterbasses.com
WOW! Thanks for sharing! This is SO cool!
Thanks, glad you enjoyed it!
@@iankingbass Is every note written out for you on a show like Hamilton? Or is it more like a session with a chord chart... you play the notable hooks, but you have room to add a little personality to other parts?
@@BigHairyGuitars It's a fully written part, but I like to add a bit of Ian King'ness whenever possible 😆
Hey Ian, as an aspiring pit player, it’s really great seeing what goes on behind the scenes. I’m sure you’ve been asked this many times but how do you get into playing in the pit?
Hi Flynn, thanks for that.. That's a difficult question to answer in just a few words here, but essentially it's about gaining experience on smaller productions, making good contacts along the way and getting noticed by the 'fixers' who are essentially the agents who book musos for this kinda work.. You tend to start out as a 'dep' (or 'sub' on Broadway) and then work up to being the 'chair holder', and hopefully you'll get asked to do bigger and bigger shows as time goes on.. The main thing is to be a good person to work with, bringing a happy, positive vibe to everything you do.. Hope that helps, Ian
Hi Ian!! Really cool vid!! Keep it up and take care 👍🏻
Hey Wilco, long time! Hope you're keeping well! Thanks for checking out the vid, Ian
I'm curious about your string gauge on the Overwater. The B string obviously sounds massive at that scale but how different is the feel and playability of the rest of the strings with a 35 inch scale? Would love hear more about how you set the John East onboard EQ... The EBS EQ for that matter too. You have such an awesome tone with that bass. Great video and a very unique perspective into the pro bass player world. Thanks!
Hi Matt, thanks for the message.. Interestingly, I find that when you go 'up a size' in terms of scale length (to 35" in this case) you need to go 'down a size' in string gauge to counteract the extra tension the longer scale length is creating... I like a bit of 'give' in the strings too, so I don't see the point in having huge tree-trunk strings on my basses.. The Elixirs feel perfect, and I think that, underneath the coating there's actually a very good quality string.. The feel great and sound deep and warm with just the right amount of snap at the top end.. I should do another video detailing the settings on the John East and EBS preamp I think! It's all about those mids! Cheers, Ian
There’s some really funky phrasing (in Yorktown for example) where you’re playing these great lines but also ornaments that are like little trills (I play them but have no idea what they’re called) and it makes me really wonder how much of that is written into the score vs, how much of your own funkiness is making it in. Bartonlini’s sound great also 😮
Hi Gerald, thanks very much! The parts for Hamilton are well written and quite specific, but I always try to bring a bit of my personality and style to proceedings.. I’ve stretched out a bit in a fair few of these examples.. but hopefully it’s still in keeping with the general vibe of the song y’know.. Cheers, Ian
@@iankingbass I mean, I know the musical real well (as just an enjoyer) and it was very plausible that it was in the book. but also, you're a dangerous man. *chef's kiss*
Great video. Really interesting to us bass nerds.
Thanks @@RobinHoyles-x8k, glad you enjoyed it!
This was absolutely fascinating. Thank you so much for sharing.
I play electric bass but am also trying to improve my upright and synth bass as well. It’s inspiring to see you doing all three so well.
The EBS Stanley Clarke is a great pedal. I also love my Nordstrand Starlifter and Bergantino Super Pre. I have a bad habit of buying preamps!
Hi Chris, thanks for that! I think they've worked out that us bass players like a good preamp pedal, and now there are too many to choose from! The Nordstrand and Bergantino ones look great too, I'm gonna check them out now! Cheers, Ian
Thanks for the insight!
No worries, glad you enjoyed it
Hi Ian. Great playing and you have the sound I’ve been searching for in a modern J. Do you know if the pickups are the “Original” or “Classic”? ❤😊
Hi August, thanks very much! Those pickups are from the Classic Bass series… I have another Overwater 5 with the newer B-Axis pickups in too.. They’re a bit livelier in the top end.. Love em!
@@iankingbass excellent, thank you for the reply.
Great tone!!!
Cheers!
Great video! Do you ever have a need for a compressor pedal for your live rig? I go back and forth with having one.
Hi Walt, thanks for that. That’s a good question actually. There are some amazing compressors out there now, and I often lust after the Origin one, but I find that for theatre work I need to play in a very dynamic way, sometimes very quiet and other times really laying into it! A compressor would bring up my quieter notes (as well as bringing down my peaks) so I tend to avoid using one on my theatre rig. Hope that helps, cheers - Ian
Great video & insight 👍👍
Cheers! Glad you liked it 👍
Loved this. Can you do a tutorial on how to play Yorktown?
Hi there, thanks for that.. Yorktown seems to be very popular, I'll have a think about putting a tutorial together, showing how I approach it.. Cheers!
Love it! Thanks for doing this. I'm sort of surprised that you're not using something like the Yamaha slb300 EUB--just for consistency.
Hi Matt, thanks for that. With shows they tend to expect an acoustic upright bass, and the sound team will usually do a great job mic'ing it up.. Saying that, I tried an SLB300-pro a while ago and was really impressed.. Certainly more portable, that's for sure!
@@iankingbass nice. I just got an slb300. My normal gig is with the symphony, and I did t want to try to setup my orchestra bass for jazz…enter Yamaha! Not ideal, but compared to the risk of different strings/pickup/action-made sense for me. Hope your Hamilton gig is going well! It’s one of my fav all time shows. Tix sales are finally slowing a bit in the US. CHEERS!
@@iankingbass and don’t even need to look at the book anymore? Just muscle-memory at this point?
Love it, thank you so much for doing this! Must be a lot of fun to play. The basses sound killer! Did you say what strings you use for the Overwater bass? Cheers from Berlin!
Hi @@bazZzment, thanks very much, glad you enjoyed it! I use Elixir Nanoweb strings, nickel wound 40-60-75-95-125 gauge 👍🏼
On the Lakland have you ever tried putting some foam under the bridge to give a more muted staccato sound? A lot of players do it but the first that comes to mind is Sean Hurley.
Hi Jon, thanks for the message. Yes that'd work too, I just seem to be into this 'palm muitng' thing at the mo. I watched the SBL interview with Sean Hurley and completely fell in love with his sound. Talk about deep, rich and warm, it's utterly sublime! I looked up his signature bass immediately (with the on-and-offable mute) but balked when I saw the price, it seems a lot for a P-bass don't you think?
@@iankingbass Yeah. I have a Japanese P bass and it's delightful. The P is supposed to be a simple, workhorse instrument so beyond ultra fancy woods how much better can a P get?
Sean Hurley still plays his 60s Ps with foam under the bridge. I don't think I've seen him play his sig model.
Though saying that, a friend had a Pino Palladino signature P and said it was the most responsive, resonant, and balanced instrument he'd ever played and he's had Alembics, Foderas, Wals.
Maybe the perfect P is out there, and I know I can't afford it.
@@joninawhitecoat I totally agree that a P-Bass is supposed to be a straightforward bass with no frills, so it’s a bit gutting when the prices of certain models go through the roof… The one thing I would like, is one with a thin finish, especially on the back of the neck.. I’m not hugely into the thick gloss finishes.. Nitrocellulose is obviously the best, but then the price starts skyrocketing.. Maybe I should get a fairly affordable Fender and get my sandpaper out!
@@iankingbass I've got a mid 90s Japanese Jazz that has quite a light finish on the back of the neck. It's a rosewood board so it wouldn't have the thicker finish that maple gets. I don't know if this is indicative of the period but if mid 90s Japanese Fenders with rosewood boards have quite light finishes on the neck, maybe keep an eye out for a P from that time for a workhorse bass.
If you really wanty a thick deep bass tone have you considred a Gibson SG bass? The standard has a thicker gloss finish but there's a heritage model that I think is just wax. I have one, it cost £900ish and it feels like a Warwick. Pretty much unfinished and I use the Warwick wax on it.
It's a short scale and I have flats on it so the tone from the neck pup is pure thud.
Really loved this, thanks so much for taking the time to put it together. What type pick do you use?
Thanks Jim, much appreciated! I use a Dunlop 1mm 👍🏼
Hi Ian, I do have a general question for jobs like yours as a resident musician. From the instruments down to "small" stuff like strings/cables/etc as well as maintenance for your instruments/equipment: Is this something you (the musican) pays for him/herself or is this covered/provided by the theatre or the production? When I think about non-music jobs I'd expect work-related equipment to be provided, but I've been wondering for a long time, how this works for musicians :)
Anyway, thanks again for providing content like that! :)
This is a super interesting video with some great playing!
Hi there, thanks for the message.. Great question.. Generally you’re expected to provide your instruments and pedal boards.. well, everything except the D.I. box to be honest… But for Hamilton, some of the sounds they wanted were quite specific so they were kind enough to pay for the pedalboard and pedals, the Lakland Hollowbody and the keyboard.. and maintenance of those is covered by the show.. The main Overwater Bass and the upright are mine though so I’ll sort the strings and maintenance for those 👍🏼
@@iankingbass Great, thank you :)
This is such a fantastic video! I love playing musicals on bass, but I'm yet to sit in a pro pit, so it was a fantastic insight for me!
I'm very curious as to your thoughts on a hx stomp (digital amp emulation) for bass for pit??
Hi there, thanks for that. I think processors like the HX Stomp are getting better and better, and for many people are becoming a one-stop solution. Personally, I like to keep things analogue and I like to be able to grab a control on the fly and adjust it right there and then.. So, it's horses for courses really.. I'm thinking I should make more content about the various pedal setups I use.. Maybe that'd be useful...
very interesting video thanks. that bass sounds great. curious the pickup blend you use? do you favor the bridge pickup a little more? any tunes with slap and if so to you put the blend down the middle for that? ill see this show eventually!
Hey there, thanks for the question.. I tend to set the blend to about 60% Bridge pickup, 40% Neck pickup.. There's not a lot of Slap in Hamilton, but when I do I'll set the pickups to 50/50 for that classic slap tone.. I don't scoop out the middle though, that's where all the information is! Cheers, Ian
Very nice!
Cheers!
Great video. What made you gravitate towards MXR pedals with the combo of 2 Octaves, Chorus & Tremolo? Have you thought 💭 about adding Reverb & Delay on your upright and passive bass sounds? Thanks 🙏🏽.
Hi there, thanks for that! The MXR pedals were used by the original bassist on Broadway, Richard Hammond, so that was the starting point in the UK. Well, the octaves at least. I have 2, so I can ‘set and forget’ them and use them on different songs. A subby setting without the original note for ‘Washington on your side’ and more of a classic octaver sound for ‘Blow us all away’.. Very handy to have 2 of the same pedal there!
Hi Ian. Brilliant playing and brilliant video 🙂👌I notice you don't have a compressor pedal on your board. I'm often undecided whether to use one or not on my own gigging board (Just wondered what your thoughts are regarding using comp pedals?) 🤔
Great vid - thanks so much for taking the time to do this. Couple of Qs - Do you have sight line to the conductor or are you watching him via monitor? Also - I notice you're using printed music rather than a big ipad/page turner - is that just preference?
Hi Kev, thanks for the message.. In answer to your questions, the sightline to the MD isn’t amazing (he’s quite high up!) but these days they always put a camera on the MD and we all have small monitor screens next to our music stands which makes things a lot easier.. no straining necks to see what’s going on!… And I tend to stick with paper music so I don’t need to worry about an iPad glitching or randomly going wrong on me.. Bit old school I guess, but there we go! Ha.. Cheers, Ian
Wonderful video and l love the sound of that Overwater bass. I see no compressor in the effects; what is your thoughts on including a compressor pedal as well??
Hi Chris, thanks for that. You're right, I tend to avoid using a compressor for theatre work so I can be as dynamic as possible. That's not to say I don't like compressors though, they can be invaluable for some setups.. I'd love to try the Origin one..
Are you reading the actual sheet music or are you using charts? Thanks! I’m a little late on your video but it just popped up in my feed and I’m glad it did! Just subscribed. Looking forward to seeing more.
Hi bks252! Thanks for the message. Shows like this are pretty heavily notated, and Hamilton especially so. Saying that, I’ll still try to bring it to life a bit with a few extra cheeky fills here and there. Thanks for subscribing, I’ll be putting more videos out this year, so watch this space! All the best, Ian
Phil Mulford is the reason I play (and also love Overwater Jazz Basses)
Absolutely! The Mulf is the Man!
Love it!
Thanks!
Can you do a video that actually shows us what a Broadway show bass book charts look like? Almost like shadowing you or being able to read over your shoulder while you’re playing?
Hi nourishmentforthesoul, thanks for the message. This is a good idea really, and it’d give a proper idea of where I’m embellishing the notation. For this show though, I think I’d get in trouble if I shared the charts publicly, so I’d better be careful on this occasion. They’re quite protective of the written music for Hamilton. But I’ll definitely bear it in mind for future videos I put out! I could even put something out specifically showing this. Anyway, cheers - Ian
Can we get a guitar rig round down too 👀😁
I’ll ask Mark 👍🏼
This was really informative, particularly as I'm doing very amateur pit / support volunteering for music students.
May I ask 2 questions? Would you say that your EBS preamp is representative of EBS tone for their other products / speakers when not going DI? It sounds just what I'm looking for, and as for the pickups: there appear to be 2 versions of the Bartolini dual coil J pickups - the original and the newer classic. Do you know which you have?
Thank you for your time.
Hi there, thanks for that, much appreciated! I love EBS gear and I would say that the Stanley preamp is typical of their sound signature. If I was asked to describe the EBS sound in one word it would be ‘Alive’.. Their products seem to nail the ‘clean’ sound with a bright and punchy sound.. (they obvs have great drive sounds too, when needed!).. I love EBS amps too.. From their smaller kickback combos to their huge 8x10 rigs.. In answer to your other question, these pickups are from the Classic Bass series… Cheers, Ian
What is your double bass resting on when not being played? I use an Upton Bass Bar in the pit but it uses up so much room …
Hi Dave, I actually had the carpenters at the theatre make a kind of 'cradle' which is attached to the ceiling. It's padded and wrapped in felt and means I can pretty much throw the bass at it and it stays in an upright position till I next need it.. Very handy!... The quick changes can be the hardest thing with these gigs!
This was a fantastic 👏
Thanks so much Sean!
What a brilliant video, thank you so much for sharing. I use the original Bartolini pickups in my fretless Jazz so I know how great they sound. I also thought the Lakland sounded brilliant and its got me interested in what a fretless version would sound like. By the way, what strings are you using on the Overwater?
Hi Linus, thanks very much for that. I use Elixir strings and love em! They last forever! I use the Nickel ones and a slightly thinner than usual gauge of 40-60-75-95-125 Cheers, Ian
@@iankingbass Thanks Ian, I must admit, Elixir is one brand of strings I've not tried although I have heard of them. I'm a huge Rotosound fan and either use their Swing 66 Nickel Hybrid on my Jazz basses or their Jazz 77 Rounds on my P- Bass. Changing over to Nickel strings was a revelation for fretless. Keep up the great work and look forward to the next video, Cheers, Michael
@@Linus27 Sounds like you've got some great basses there! You've now got me looking up 'Hybrid bass strings'! 😆
Great video, thanks! What is the double bass pick up you mention a few times, Bauer, Bower?
If you’ve tried both, how does it compare to the realist pickups?
Hi there, thanks! The double bass pickup is called a 'Bass Balsereit' doublebassguide.com/?p=37 I had a realist before and I find this fuller, with a lot more bottom end.. You have to get a luthier to drill a 'conical' hole into your bridge (a hole that gets progressively wider) but once it's there it's a great fit, very confidence inspiring.. Cheers, Ian
Thank you Ian!
For the bass playing how did you record this video? You've not got cans on which you said you'd have on for a performance, so wondering how you're hearing the music and how the bass got recorded and mixed.
A beautiful tone you've achieved on that Overwater! I've a Lakland JO5 with a J-Tone from John East and you've inspired me to get more out of the tone settings.
Hi there, thanks for the message.. I actually am wearing an in-ear monitor in this video.. I’m deaf in my right ear, so I’m wearing a ‘UE SS’ which is a single sided model.. a pair of in-ears all in one side!
I recorded this performance on a spare personal monitor in the pit, and set up a mix without click to make it a bit easier on the ear..
Cool that you have the J-Tone circuit in yours, I’m gonna get that put in my 4-string as I’ve heard good things about it..
Cheers, Ian
@@iankingbass thanks for the in-depth and interesting replies! It's very cool that the examples of you playing were recorded live during the show. I wasn't sure whether the music was pre-recorded from the show and you recorded over that later at your leisure or whether it was done live. Your playing to my amateur ears is so musical and on the money, it's a joy to listen to.
Thanks for the info about the in-ear monitors. It's great you have dealt with your hearing problem so well - another source of inspiration for aspiring bass players!
Greetings Ian. Thank you for your rig roundup. I was curious about what percentage of charts giving to you from all your gigs are bass clef vs treble clef?
Hi there, thanks for the question! They’re all in bass clef, thankfully! Cheers, Ian
I really enjoyed this. Did I miss it, or what was your EQ like on the five string? It seems like you like to boost that high mid-ish era?
Hi @bassedthechannel, thanks for the message! For the 5-string I try to do most of the EQ’ing on the bass itself and leave the EQ flat on the channel it’s plugged into on the Stanley preamp. On the bass I’ll add a smidge of v low end and a bit of low mid to cut through the mix. I’ll add a bit of treble as the strings start dying too! These particular Barts (classic series CBJD) have a great sounding low mid, so that’s why I accentuate that a fair bit. Oh and lastly, I set the treble frequency quite low on the uni-pre (inside the cavity), so it’s kinda affecting the high mids a bit too, as you’ve rightly noticed. Cheers, Ian
Brilliant!
Thanks DrBassFace!
Thanks for your video!
Very nice tone for your first bass!!!
May i know the model of that pickup?
Thanks! I think the Bartolini pickup is called a CBJD57... possibly with a 1 at the end!
@@iankingbass thank you so much! i gonna put it on my j-bass!
what are the chances of more live footage from the orchestra playing yorktown dancebreak or something?
Hi there, thanks for the message... I think there might already be a video of the band playing Yorktown floating around online somewhere, I'll have a look.. Cheers, Ian
@@iankingbass i think i know what your talking about, but i was hoping for an updated one as of 2023/2024
since the last ones were from like 2020
This is so awesome - thanks Ian!
Two questions (apols if you have mentioned already):
1. Do you have a mute switch for the DPA mic on the bass in case you need to tune or is that fully controlled by front of house?
2. Is there anything else beyond instruments in your IEM mix (e.g. click, a talkback mic or some sort). Generally curious on how much you play to click for the show
Hi there, thanks for the message, and the questions.. 1) There is a mute for the DPA, but I think the sound team have got so slick with muting things at the end of tunes that it's not that important that I use it these days.. I do mute the pickup though, as that's quite loud in my cans and I don't want to hear the double bass crashing around whilst I'm putting it back in it's 'holster'! 2) I recorded a separate mix for this video, on a spare personal mixer in the pit.. I do have click, track, MD talkback, 'Comms', 'House mic' and all the other instruments in my ears too.. Thought it'd be nice to do a mix without the click though, as everyone complained last time I uploaded a vid with the click in 😆(To be fair it does sound quite harsh!)
@@iankingbass that’s awesome ! Thanks so much for the answers
Thank you for this video, really great to see your set up.
Question about the score, with it being so iconic but also very hip-hop, how much freedom do you have? Some of the fills You played whilst demoing sounds sound so natural So I wondered how many of them are written out fully
Hi Christocakes, thanks for that. That's a great and very valid question! I've been lucky enough to do mainly Pop/Soul/R&B style shows over the years and, as a rhythm section player you're often booked because of what you can bring to the part. I remember having a lot of freedom on 'The Book of Mormon' and 'Dreamgirls' for example. Hamilton however is quite different. The vibe is more of 'reproducing a hit album each night' and with the lyrical content being so important, it makes sense to stick to the part and not overplay. For example, think of 'Washington on your side' - if I was to play more than what you hear in this video, you wouldn't be able to hear the rapped lyrics! But saying that, I have found a few moments in the show where I can stretch out a bit and I've featured quite a few of them in this video! I would always play this much - maybe it was a Saturday night! 😆
Great Video! Just wondering what the double bass pickup is. There’s the DPA but I struggled to pickup what the second one. Thanks for the great video!
Hi Luka, thanks for that, much appreciated. The pickup is called a 'Bass Balsereit', I found this link about it online doublebassguide.com/?p=37
@@iankingbass Awesome thanks so much Ian! Hope you keep well
Awesome vid. is there any slap bass in the show? if so, what song(s)?
also what brand was that 5 string? sounded magnificent
Hi there, thanks! There isn’t so much slapping in this show. There was a bit more in the previous show I did - ‘Dreamgirls’. If you search ‘Amber Riley on the Graham Norton show’ you can hear me slapping my Overwater Bass. I’m the one at the back, looking serious! 😆
@@iankingbass I was assuming there wasn't any, so I'll definitely check that out.
This is awesome. Thank you for sharing.
Did you put that pedal board together or was it prescribed to you by the sound designer/music supervisor?
Thanks Neil! This is version 2 of the Hamilton pedalboard. When I first joined there was a more complicated version (which was a bit overkill if I'm honest), but after a couple of years it needed maintenance so I asked if they'd spring for a 'spare board' whilst the first one was off getting looked at. That was ok'd and I had more free rein in putting this one together. (The original board has now become the spare!). I went for the MXR pedals again because that's what the sound team was used to hearing, but was very pleased to be able to include the EBS Stanley Clarke Preamp and the GigRig Quartermaster switcher... The Fishman Platinum Pro EQ was on the last board too and I ordered that again because it works well and sounds great.
Is there no compression? Or is that dealt with at Front of House?
Hello there.. I don’t tend to use compression in a theatre setting because quite often you’ll have to play very subtly/quietly, and a compressor would be boosting my quiet notes, so would feel a bit counterintuitive.. They’ll definitely be using compression out front tho! Cheers, Ian
Mate, this was super interesting! If you don't mind me asking, to do the West End thing how capable does a player need to be at upright?
Hi George, thanks for that, and good question! These days, most shows have at least some double bass in them, so it's worth getting the basics together at least. When I started out in the west end, about 20 years ago, it seemed to be 5-string and fretless bass which was most asked for. These days it seems to be P-Bass, 5-String Jazz Bass, Double bass and quite often a bit of synth too! This is more for the 'pop' shows though. There are still more traditional shows which might only need Upright Bass or a regular electric bass for example. In terms of the standard of playing on upright, it's never anything too virtuosic, but you'd need to be confident with the bow, and there's often a big band style tune, so you'd need to have your walking chops together too. Hope that helps, cheers - Ian
@@iankingbass Thanks so much for the detailed answer, much appreciated! As a long shot, no pressure to know the answer here, are there any upright brands or varieties that are cheap but surprisingly good? Or alternatively, does anyone ever turn up with an electric upright?
Awesome rig rundown! I think you've got everything covered there Ian. Modern electric, vintege electric, double bass pizz, double bass arco/bow, keybass... Is there anything missing? Super classy.
Thanks@@OsmarOliveira, much appreciated! Well, I’m campaigning to get a little bit of sousaphone added, but it’s not going well.. Cheers, Ian
what kind of bow do you use? Also, great playing!
Hi @@jacksonsigmon7069 It’s a cheapy carbon fibre one.. Cost about £250.. I forget the name, I’ll check tonight 👍🏼