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How do you get a HUGE bass sound?
- Thread starter bdplaid
- Start date
My "stock bass" sound comes from a Guild Starfire II -> BOSS BC-1x comp -> Mesa D350 -> GK 115. Pickup selector is usually in the middle position and I play LaBella LTFs with a Dunlop Ultex 2mm pick. It's a huge sound.
Blend 2+ signals however makes sense for you. I used various custom 2-5ch parallel blenders for years. If going that route I would recommend Saturnworks. Never used a Boss LS-2 but they are popular, not hard to find used, and (I assume) not hard to resell if you want to stack more channels.
My current solution is the overkill one: A Morningstsr ML10X, which has essentially unlimited stacking and routing (if you can draw it you can make it). That is in the "loop" of one of my ZOIA's and that is also capable of stacking a ton of channels. That goes into another ZOIA with more ambient/time-based effects in its "loop" and other things that could use an HPF. It's not fun making changes, but when things are set up it can get as big as you want.
My current solution is the overkill one: A Morningstsr ML10X, which has essentially unlimited stacking and routing (if you can draw it you can make it). That is in the "loop" of one of my ZOIA's and that is also capable of stacking a ton of channels. That goes into another ZOIA with more ambient/time-based effects in its "loop" and other things that could use an HPF. It's not fun making changes, but when things are set up it can get as big as you want.
- Sep 26, 2005
- 1,955
- 641
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- endorsing artist: Dean guitars, Marshall , Rotosound strings
I had this exact issue in a 3 pace with vox, which took a little while to solve.
After lots of experimenting I settled on a Marshall 810 with dbs head although the eq is more important than the gear as such.
I use plenty of volume with a “British frown” eq shape rather than the classic “California smile” shape.
The mids- particularly on the lower end are key and where the power is.
I also always have a slight drive on - mostly I use the ehx bass soul food making good use of the blend function.
When solos arrive, I keep it low and strong and have not dealt with any loss of impact
After lots of experimenting I settled on a Marshall 810 with dbs head although the eq is more important than the gear as such.
I use plenty of volume with a “British frown” eq shape rather than the classic “California smile” shape.
The mids- particularly on the lower end are key and where the power is.
I also always have a slight drive on - mostly I use the ehx bass soul food making good use of the blend function.
When solos arrive, I keep it low and strong and have not dealt with any loss of impact
Subwoofers work. I was temping in a band that had a lot of its own equipment, I was filling in for the bassist who was out of the country for a couple of years, and the band had this JBL 18" subwoofer and a cab with baffles... the bass was everywhere. They even packed it up and took it on gigs and with that rig I was the butter and the bottom of the pan.
It was kind of muddy, I was playing a fretless and used my B200 15" for a monitor. It was omnipresent, not focused and clear... but that's the sound they wanted. Good times, lots of big outdoor party gigs.
I did my tour, loved it - the original bassist returned and I bid them adieu... goid times.
It was kind of muddy, I was playing a fretless and used my B200 15" for a monitor. It was omnipresent, not focused and clear... but that's the sound they wanted. Good times, lots of big outdoor party gigs.
I did my tour, loved it - the original bassist returned and I bid them adieu... goid times.
PS: Ran the VMT into 2 2x12s, which did the trick nicely vs. a 100w non-master Marshall half stack and gorilla drummer.
Since you asked: I used to just boost the bass EQ 
but lately I’ve been fooling around with the Tone Print compression in my TC BH250 head.
but lately I’ve been fooling around with the Tone Print compression in my TC BH250 head.
If you are playing with something even remotely resembling modern sound reinforcement gear - you know, subs and all that, the 'you need more speaker area!' people are way off base (bass?) in in my opinion. The answer is almost never 'more stage volume' - no matter what the question is.
I think the key to filling out the sound is this:
1) guitarist who understands the dynamics of playing in a 3 piece vs a 4-5-etc piece. They absolutely need to approach leads differently.
2) bassist doesn't need to do anything crazy. Maybe add a bit of OD to wooly things up a bit. I often play chords - most often just adding in the 5th - it adds presence. Subtle is best.
I think the key to filling out the sound is this:
1) guitarist who understands the dynamics of playing in a 3 piece vs a 4-5-etc piece. They absolutely need to approach leads differently.
2) bassist doesn't need to do anything crazy. Maybe add a bit of OD to wooly things up a bit. I often play chords - most often just adding in the 5th - it adds presence. Subtle is best.
If I want to sound like a sub, I use both of my 115 cabs. For those uninitiated, They hit hard, are very articulate, and two of them together is deeper than anything anywhere. We do have subs, however.
For a short while, I had two 212s. Yeah, that was huge. In many ways, especially pgysical.
That said, this is a project for me. I'm looking to get a big sound, more electronically than with horsepower. Two 15s and two 212s, which I have, will definitely get it done. But if I'm in a bar that seat maybe 200 people, it's WAY overkill.
And don't underestimate what a Mesa Subway 115 will do. I've used it many times by itself, and it's killer.
I agree with the "swagger"and "it's what you play" crowd. This kind of music is an overplayer's dream. However, I am an in the pocket guy by nature, as my overplaying days are behind me. So I thought.
These are some good thoughts, please keep them coming!
For a short while, I had two 212s. Yeah, that was huge. In many ways, especially pgysical.
That said, this is a project for me. I'm looking to get a big sound, more electronically than with horsepower. Two 15s and two 212s, which I have, will definitely get it done. But if I'm in a bar that seat maybe 200 people, it's WAY overkill.
And don't underestimate what a Mesa Subway 115 will do. I've used it many times by itself, and it's killer.
I agree with the "swagger"and "it's what you play" crowd. This kind of music is an overplayer's dream. However, I am an in the pocket guy by nature, as my overplaying days are behind me. So I thought.
These are some good thoughts, please keep them coming!
15s can sound really good at low volume levels if you like the more old school bass sound. Think Jamerson. For high volume levels or a more modern vibe they don’t work as well as 10s or 12s IMO.
1 p bass
2. Big speakers
3. Big amp
4. Crank up lows.
5. Look for amp that goes to 11! 10 just won’t be enough.
2. Big speakers
3. Big amp
4. Crank up lows.
5. Look for amp that goes to 11! 10 just won’t be enough.
I've always found overdrive and the like to remove low end, so I don't use it.
I've had a million octave pedals, most recently the OC5, which I think is the best of the bunch. I had a sub n up but found the low octave to be a little thin. One of the more interesting was the TRex, which had both an upper octave and a fifth. I sold it to the guitar player with whom I'm currently working!
Chorus is a good idea, I've always found that to make things more spacious, and i use that.
Actually, the biggest sound I get is using all my pedals at once: Diamond>OC5>Chorus>Hypergravity (with a custom toneprint that works like a trhree-band EQ/compressor). It does sound big, but I'm looking for simpler than that. Maybe it doesn't exist.
Maybe I want an 8-string bass. I don't know. I'm still fleshing it out.
I think I dislike figuring out what sound a new band needs.
Tons of EQ things and effects that can have good results. I like a good low-medium to medium drive. I remember years ago when I really figured out what a drive could do. I grew up thinking using drive or distortion on bass was dumb (I was dumb and didn't understand). About 9-10 years ago, I started playing with a classic rock trio. After a bit, I started to think, there was too much open space and it didn't sound quite right. Thinking along same lines of the OP. Then I thought, well, since we only have one guitar, if maybe I try some dirt, it will kind of sound like there is bass and a rhythm guitar going on. Not quite, but using some different drives, oh my goodness, I got it. It sounded really cool, and filled up the sound.
Years later, I got in a 5-piece and we have a rhythm guitar. Didn't think I needed as much drive, but I figured out, after reading a lot here, that it really helps the bass sound great and sit in the mix. So, I always have a little bit of light tube dirt, or just crank the gain on a preamp to get it. And then use heavier drive when the guitars start getting their thing on.
Years later, I got in a 5-piece and we have a rhythm guitar. Didn't think I needed as much drive, but I figured out, after reading a lot here, that it really helps the bass sound great and sit in the mix. So, I always have a little bit of light tube dirt, or just crank the gain on a preamp to get it. And then use heavier drive when the guitars start getting their thing on.
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In my experience, I have owned 2 passive jazz basses. My complaint is that they just don’t have a big sound.
A popular mod on jazz basses is a series/parallel switch.
You can do this with a push/pull pot so it's reversible.
A jazz in series is pretty big/thick sounding.
