And if so, do you have a way to achieve that predictably?
All Blues
All Blues
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Double Bass Anyone else here appreciate an amped, overdriven sound like Ron Carter's?
- Thread starter robert_stuart
- Start date
An amped, slightly overdriven sound can sound really good in the right context, particularly in very loud bands.
I’m thinking of Bridget Kearney, though.
I’m thinking of Bridget Kearney, though.
Wow, it almost sounds like the db is on speakerphone while we are in the room with all of the other instruments. Pretty cool.
My first thought would be compressor/amp sim/cab sim.
My first thought would be compressor/amp sim/cab sim.
The 1980s bass sound: Spiro Reds, Underwood, and GK. 
it would probably be useful to apply a very broad low-cut to the original signal, then carefully eq the signal post low-cut. In a nutshell, wide-Q low cut, followed by narrow-Q low boost (as needed to make up for low end loss from the first cut). Of course “that Ron Carter sound” of the great CTI 70’s recordings was a lifetime ago, and he doesn’t sound that way on records now (or for the last 20-30 years even)….
Yeah, that’s where I got off the merry go round. Still sitting’ there.The 1980s bass sound: Spiro Reds, Underwood, and GK.
That's definitely how the sound originated for sure. As pickups moved ahead, Ron continues to get the same sound out of a Realist (I think he's using a Life Line these days) and all sorts of different amplifiers. Acoustic Image, Epifani, et. al. Ron's a brilliant line player and studio jazz bassist. Unfortunately, his preferred brighter sound doesn't scale up very well, especially if the sound engineer mixing out in the house plays around with the Double Bass EQ a lot so it suits his tonal tastes vs listening to the sound Ron's going for. It's a real delicate tone quality and just a little to much treble or upper midrange and it can sound very thin and nasal. If you listen to Ron's very early recordings with Eric Dolphy or Bobby Timmons, before they started taking a line of the amp. His acoustic tone is quite nice. I also love the Duo's with Jim Hall. Just my take of course.The 1980s bass sound: Spiro Reds, Underwood, and GK.
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As someone growing up in the early '80s, TBH the amplified tone of Ron Carter and NHOP was really the first time I paid attention to jazz or noticed the bass.
In some weird way, they set the standard to my ear for what an upright was "supposed to" sound like.
I remember seeing Marsalis-inspired (or employed) "Young Lions" like Robert Hurst in the '90s...his hand and finger motions looked mighty impressive, but I couldn't hear a damn note out in the hall with just a mic. I know tech has progressed since then, and it's not just an either or of "putrid piezo" or "muffled microphone" anymore.
Don't forget the Fishman BP-100, far worse than the Underwood IME (I've had both).
In some weird way, they set the standard to my ear for what an upright was "supposed to" sound like.
I remember seeing Marsalis-inspired (or employed) "Young Lions" like Robert Hurst in the '90s...his hand and finger motions looked mighty impressive, but I couldn't hear a damn note out in the hall with just a mic. I know tech has progressed since then, and it's not just an either or of "putrid piezo" or "muffled microphone" anymore.
Don't forget the Fishman BP-100, far worse than the Underwood IME (I've had both).
The Fishman BP-100 was,is, and forever shall be a travesty to nature. Ron, to the best of my knowledge never used one. Robert Hurst, Christian McBride, and other bassists were all under the “spell” of one Mr. Marsalis. None of them,to the best of my knowledge, stand in front of a Electrovoice RE 20 these days thank goodness. Once they exited the orbit of the aforementioned band leader they went back to pickups in combination with microphones. Just my take of course.
Earl
Supporting Member
Ron Carter’s All Blues was the first album I heard where I thought that the bass was recorded comparably to a pop or rock album. Not that it sounded the same, but I put the bass recording up there with McCartney on Abbey Road. It was a real ear opener for me, and a seminal recording in my jazz education. I have no idea how it was done, but that is the sound in my head that I would like to achieve.
Yes, back in the ‘70’s, the CTI albums,
recorded at the Van Gelder studio, had a certain, very recognizable sound. If you were a bass player, you were most certainly impressed by Ron Carter’s sound, note choice, and great sense of time. The high quality of the musicians on those CTI records was also undeniable. There were a lot of very enjoyable and great sounding records produced.
Agree on the compression comments. Also, yes it sounds nice. Now I want to use the compression knob on my fishman next gig instead of ignoring it....
Jazzdogg
Less barking, more wagging!
Sounds very familiar; in my case (back then) Spiros, an Underwood p'up, and a Polytone amp.The 1980s bass sound: Spiro Reds, Underwood, and GK.
I still have the BP 100 and the preamp that goes with it The issue for me with Realist is they are too boomy but everyone thinks that's the sound. How I use it is I do not use the clips. I just put the flat sides together and then shim them with cork or wood and jam them in the bridge. They become less bright and even work for Arco. I think the electrostatic mics are an improvement but when it's loud the subtle MBOL nuance is lost. Yeah it is not pretty sounding compared to all these new doodads but with the mix... For me it just works.
Yeah I use the Schertler most of the time and a mic but when I have to start dealing with phase and notching to avoid feedback, instead of wasted time dicking around, the BP 100 and mostly cut on the preamps EQ and the show continues and has a high tolerance to the bands loudness
Yeah I use the Schertler most of the time and a mic but when I have to start dealing with phase and notching to avoid feedback, instead of wasted time dicking around, the BP 100 and mostly cut on the preamps EQ and the show continues and has a high tolerance to the bands loudness
George Mraz used a Wilson 4 Element when I saw him with Tommy Flannigan and regardless of his tonal choices this lines and solos were among the finest I’ve heard ever and that includes Ron Carter, Christian McBride, Dave Holland, Gary Peacock, Drew Gress, John Pattucci, Jay Anderson Steve La Spina, and Scott Colley and a host of others I’ve been fortunate enough to hear live. Just my take of course. Here’s George Mraz with Billy Childs and Billy Hart.
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