I was just going to post that part of the job should fall to the bassist.3. I don't think this has been mentioned, but dirty up the bass as needed. If you take a solo, that's a prime time for the bass to kick it in second gear and to help fill that midrange freq space that will be lacking, some dirt can help here. There isn't any place to hide in a power trio and the bass, which normally is just felt, will be more noticeable.
There's a whole list of pros and cons that go with that. One thing that is related to a backing track is the use of a pad. You can roll it in subtly so that the audience may not even notice; it sort of partially fills that gap of not having keys.Add some backing tracks.
I was just going to post that part of the job should fall to the bassist.
Also, the bassist can fill out by using diads or partial chords in certain parts.
Well... I think you're also an exceptional bassist, so that helpsThat’s why I love to play in trios when I play bass. I need that space to be able to do my thing. I hate to play in bands with two guitars. Sometimes I even prefer to have no guitar at all....
Especially when you have a rock player with too much lows in his sound.
The Synth block is monophonic so this would not likely work in most cases.I'm surprised n one has yet to mention adding a synth block to thicken the sound.
Add enhancer block for the stereoizerThe Synth block is monophonic so this would not likely work in most cases.
Well... I think you're also an exceptional bassist, so that helps
I'm surprised n one has yet to mention adding a synth block to thicken the sound.
Bury it in the preset mix. It's not supposed to stand out at all, just add a little flour to the pan sauce.It's quite a risk to use the synth block live. False triggering is on the lookout.
Not trying to fix a bad guitar tone. What I’m doing is the same thing you hear on most studio recordings. Doubling guitars, vocals, snare drums etc is about creating subtle differences in the stereo field that make things bigger. It depends on what you’re going for…probably don’t wanna double guitar on an SRV thing, but definitely do for a lot of other things. Example: ACDC You Shook Me starts with one guitar that is far from thin and halfway into the first verse the second comes in…its bigger.I played in a trio for a long time and really I think the best "trick" is to dial in a sound that fits the group, nothing more nothing less. If you sound thin you need more mids. No amount of delay or modulation is going to fix that.
Not trying to fix a bad guitar tone. What I’m doing is the same thing you hear on most studio recordings. Doubling guitars, vocals, snare drums etc is about creating subtle differences in the stereo field that make things bigger. It depends on what you’re going for…probably don’t wanna double guitar on an SRV thing, but definitely do for a lot of other things. Example: ACDC You Shook Me starts with one guitar that is far from thin and halfway into the first verse the second comes in…its bigger.
Also, I’m just curious to see how it will translate in the PA in a club. I have all of this potential in the AF3, and I’m interested to see what it’ll do. It may be negligible or it may muddy up the mix, and if the latter, I’ll go back to mono. But it may be great!!!
Fair point!I was actually replying to the op not specifically to you. I understand all the studio tricks in terms of widening the stereo field, I'm just not a fan of doing that stuff in a live setting as stereo really needs a proper listening position for it to work as intended.