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Any possible way to get this tone?
- Thread starter Thir13teen
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One other possibility to to try to approximate the grind in that track, in combination with effects, is to adjust your pickup height. You might try raising the bridge pickup as high as possible (to the point where the strings still clear it while playing). The neck pup can be raised as well, but try to not sacrifice the fundamental. Then blend the bridge and neck to get the amount of beefiness and grind that you like (and that your bass is capable of).
This will be very bass dependent though so it's just experimental.
This will be very bass dependent though so it's just experimental.
I think you'd be surprised by how many "clean tones" from yesteryear are actually rather filthy when isolated. One of my tricks to help things pop in a studio mix is to put a touch of overdrive, even on the "clean" sounds.
Take a listen to some of the isolated Jamerson tracks on youtube for evidence of the aforementioned dirty bass. It sounds clean in the overall mix, but it definitely isn't.
Well, get a VT. The VT will get you there I think, but without that "buzz saw" effect. I use a dirty grindy clangy tone all the time in the classic rock band I play in and it comes out in the mix great.
It's modern, clear to start with, but lots of dirt and gravel thrown in. SS strings, a VT, and a clean amp would work great. I think.
I get my point is pointless without sound clips:
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Not everyone fought hard to be rid of distorted bass. There are plenty examples of distorted bass from the era by not-very-obscure bands like the Beatles and the Stones.
This is from 1961. Make sure to listen until the break halfway through the song. Yes, that's a bass.
Marty Robbins Sings 'Don't Worry.'
Probably, but who would want to?
Someone who likes this kind of music. Horses for courses and the bass tone fits this song perfectly.
I’d recommend something in the the Darkglass Alpha “family”. I’ve never used one, but it would seem to lend itself to that and plenty of other tones for a thick, meaty, distortion that has plenty of definition.
I have used a B3K. It’s my go to “metal” sound. I think it would be a bit scooped for this application, with maybe a bit too much treble bite. I love it and will never part with it, but I don’t know that it will get that tone.
Good luck!
I have used a B3K. It’s my go to “metal” sound. I think it would be a bit scooped for this application, with maybe a bit too much treble bite. I love it and will never part with it, but I don’t know that it will get that tone.
Good luck!
I have read articles about the Beatles where Paul bemoaned the fact that he couldn’t get his bass as loud as he wanted without it distorting. He tried different combinations of VOX products but still had to endure distorted tone. First thing he got rid of was the terrible T60.
there are similar stories from the Stones camp. Bill Wyman was very much a BASS player as distinct from a bass GUITARIST.
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The break in Marty’s tune sounds very much to me like a Gibson EB0F with the fuzz turned on. Good for a giggle but in reality not much more. Mine was stolen in the mid Sixties.
Using distortion as an effect is one thing. Never being able to turn it off is something completely different.
Using distortion as an effect is one thing. Never being able to turn it off is something completely different.
Quite honestly I thought I'd get a couple of responses like "Not really possible with a PF-500" or something like "You can kinda get it....here's what you have to do..." But didn't think the first thing right out the gate I was going to get was mocked.
Sorry about that, there are certain individuals who will repeatedly do this, they think their way is the only way. Music is an art form, after all, and each individual will view their role quite differently from each other. But no...anything other than "clean tone/four strings/tube amps/rickenbacker/insert other purist snobbery" because 'that's the way I've always done it and therefore it's the only way." Yeah...miss me with that mentality, grandpa.
Hit up the effects forum, we're less judgmental and we have a "no trolls rule" in there.
Fresh rounds, low action, Sansamp up front. That's really all there is to it. Not sure what kind of bass he was using but a lot of guys use Warwick or Spector for that kind of tone. I think it sounds great.
Inez uses Spectors with EMG actives in AIC. And I agree...that's definitely the sound of an active EMG loaded bass, although I do think other basses would be capable of getting you in the ballpark.
EDIT: Whoops...looks like he also uses Warwicks.
Inez uses 4 Ampeg SVT2 Pro with (4)18's and I think 2 810's... he also uses a Samsamp that has a direct feed to the board, when live.
Honestly my first thought was dirt pedal, or overdrive or something like that. I've never really dug into the preamp on my pf500. But then again, for me overdriven tones were pretty situational, so cranking gain and messing with volume mid-set or in rehearsal was kind of a non-option.
Have you thought about joining? There always seems to be a shortage of a few good men in this country of ours.
Also, re: old school attitudes regarding distortion. I'm pretty neutral to it, I guess - but I think now it's more of an stylistic thing now that it's an option. Way back in the day, people trained their voices to compete with orchestras, then started crooning with the advent of PAs, then there was autotune as a sound and screamy vocals and yelling, now that we can sound how we want, we don't all want clean I suppose.
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