The problem isn't so much that it's "weak", just more so that the E feels dark and more mushy bottom compared to the other strings.
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Best bass + string + amp combo that got you the most clear/punchy E string sounds?
- Thread starter lastminute
- Start date
The problem isn't so much that it's "weak", just more so that the E feels dark and more mushy bottom compared to the other strings.
Still, I'd use the same approach--take everything but the bass out of the equation, then see where you're at. How do they sound recorded DI? If it's a setup thing, pickup height thing, anything really, you're not making a truly clear evaluation of it in a room through an amp.
Homemade P bass with a SD Quarter pounder thru a Peavey MiniMax going to a pair TC Electronic RS 2X12's. Not the thickest sound but definitely the punchiest I've got on the E.
Which strings are on your P bass? It sounds brighter than I would have expected. I think I'd like to try them on my P5 when it's time.
Due to the flat pole pieces & flat blades, a commanding & thundering E are already baked into the cake.
Add some TI flats + Ampeg SGT-DI + either 112 or 212, & let the thunder roar.
Add some TI flats + Ampeg SGT-DI + either 112 or 212, & let the thunder roar.
Best tone ever (to my corroded ears). The E string on either of them has cracked the house foundations. GHS Nickel Boomers standard gauge. Bone stock basses, bone stock F135 tube head and two 15 " openback cabs. Master up full, channel volume never over 3, bass, mid and treble all at 7. When my wife is away on tour I can sit in front of the amp for hours and while away a whole day....or until the neighbours knock on the front door. Channel one on the amp has a DEEP switch. It rules.
My only advice to you after playing 48 years is don't overthink it. Start with the dumb poopie first:
1. Are the pickups set at the right height on the E side? If they're too close or too far from the E it will sound bad.
2. Are the E strings sitting only halfway in the nut slot? (if they're too deep in the slot and/or too low in relation to height above fret one this can totally choke out any string)
3. If you fret the E string at the first fret you should be able to comfortably slide a piece of A4 paper under the second fret, if you can't get that paper in there your nut slot has been cut too deep which makes for problems down the length of the E string, being too close to the fretboard to be able to oscillate freely when picked/plucked. Instant choked sound.
Sort out these basic things first before moving on to expensive poopie like amps/pedals/fx and so on. A well set-up bass will sound cool through almost any amp.
My only advice to you after playing 48 years is don't overthink it. Start with the dumb poopie first:
1. Are the pickups set at the right height on the E side? If they're too close or too far from the E it will sound bad.
2. Are the E strings sitting only halfway in the nut slot? (if they're too deep in the slot and/or too low in relation to height above fret one this can totally choke out any string)
3. If you fret the E string at the first fret you should be able to comfortably slide a piece of A4 paper under the second fret, if you can't get that paper in there your nut slot has been cut too deep which makes for problems down the length of the E string, being too close to the fretboard to be able to oscillate freely when picked/plucked. Instant choked sound.
Sort out these basic things first before moving on to expensive poopie like amps/pedals/fx and so on. A well set-up bass will sound cool through almost any amp.
Whenever someone mentions "punch" and "clarity", especially at the E string, my first thought goes to this VM4. No doubt the reverse splitter is responsible for a baked-in punchy sound, which also beefs up strings 1 and 2 quite a bit. But once I matched the bass with a set of 100ga Chromes it went to another level in that direction. The preamp is also voiced to enhance that character. Sandberg really knew what they were doing with this model. I feel like Sandberg had this exact sound in mind when they designed it. It's one of the most impressive sounding basses I've ever had. I like it with a little bit of MM pickup blended in, and the bass and treble slightly boosted.
Not that it matters but I plug into a HPF--MXR Bass Comp--Master Effects Super 800--into the front of a TecAmp Black Jag 900--out to a 410 Neo cab.
Runner up would be this Conklin. Once again with the reverse P pickup doing the heavy lifting.
Honorable mentions go to this Electra and the LTD below it.
Not that it matters but I plug into a HPF--MXR Bass Comp--Master Effects Super 800--into the front of a TecAmp Black Jag 900--out to a 410 Neo cab.
Runner up would be this Conklin. Once again with the reverse P pickup doing the heavy lifting.
Honorable mentions go to this Electra and the LTD below it.
You've spent enough money....get your current line-up straightened-out. Do a proper set-up & string install with emphasis on break angles and witness points. The thicker gauge E & B are particularly resistant to bending and manipulation.
If outcomes remain sub-optimal, a single band PEQ sweep with attenuation ~300-400 hz will sometimes "unmask" the desired clarity and character.
Riis
P bass, jazz bass, or stingray, low tension flats or 760s, proper pickup height, and the all-important high pass filter.
The most aggressive but clear sound of all my basses is this... Aria LEB neck pickup (reverse split) with active tone control + Super Slinky round wound (100) + Trace Elliot 1215 SMX.
I think the 100 gauge E string has a bit more tone than a 105 Swing or Pro Steel.
I think the 100 gauge E string has a bit more tone than a 105 Swing or Pro Steel.
The advice of zooberwerx ^^^ is probably the best. But to answer your question, I get that evenness and punch from an MIJ PBass (such as a roadstar 630 or 650 or my 82 Blazer), a Dimarzio style P pickup such as the early 80’s Ibanez’ Maxon copies, a GK RB series amp (400RB, 700RBii, 800RB) and a compact stack of two Bag End S15 cabinets.
This setup has a little grind to the tone, which is one great way to get a balance of warmth and clarity — even though a touch of grind is actually distortion, it comes across in a big rock mix as clarity.
Just posted this in the roadstar club thread, but here is a little train beat original at this weekend’s brewery duo gig. You can hear the bass speak in its mid register in the intro, and then I hang out plucking the E and A. I’m plucking gently on the E because of the small room, but you can hear it articulate on the chromatic run back up to the Ab at the chord change. It feels even and clear to me
This setup has a little grind to the tone, which is one great way to get a balance of warmth and clarity — even though a touch of grind is actually distortion, it comes across in a big rock mix as clarity.
Just posted this in the roadstar club thread, but here is a little train beat original at this weekend’s brewery duo gig. You can hear the bass speak in its mid register in the intro, and then I hang out plucking the E and A. I’m plucking gently on the E because of the small room, but you can hear it articulate on the chromatic run back up to the Ab at the chord change. It feels even and clear to me
