Your tone and volume pots are a treble drain. Direct wire the pickup to the output jack and you wil have your true sound with all its inherent treble.
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How to get more treble from the Pbass..
- Thread starter FishDub
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>JimmyM says:
"So how come nobody ever complains about guitarists wanting to control what goes out to the PA? Or keyboard players? But dang, a bass player wants to do it, and bass players line up to tell them they're egomaniacs and jerks and they need to leave everything up to the sound tech?
Wow, what a beaten-down bunch of shlubs!
How dare anyone tell me what to do! It's my show, not theirs! I refuse to be beaten down into the status quo! I'm always happy to listen to competent people if they think I'm doing something that's making their gig impossible, but I've had too many try to take me down a road that I don't want to go.
Examples:
---I hate tweeters on electric bass and have told the sound tech of my disdain for them. But the sound tech loves the sound of guys like Marcus Miller and Victor Wooten (I do too but not for my thing), therefore I end up with tweeter frequencies in the PA.
Low pass filter is for them.
---In our band, if you have too strong frequency response below 60 hz or so, it creates mud. But the sound tech is younger and grew up with hip hop and EDM and loves those frequencies and pushes them hard despite me being quite vocal about not liking them.
High pass filter is for them.
---I have had sound techs tell me I need to plug my bass straight into a DI, despite my use of effects. When I tell them that I use effects and want them in the PA, I have been told things such as "You will not have effects in my PA" or "We'll set up a mic for your cab and blend them," then they never turn on the mic.
Well sorry...but when you're on my gig, that is MY PA until the gig is over. So you're getting effects in the DI and you will like it.
Don't worry...between my professional use of effects and my H and LPF, your speakers are safe, Mr. Sound Tech.
But when you demand that the guitarist doesn't use effects, then and only then will I take your demand that I plug my bass straight into the PA seriously.
On the other hand, our sound tech yesterday showed me his iPad with my channel pulled up...he says, "Man, I have to add a lot of bass to your channel to make it sound right out here" and shows me the graph with a hump at 100 hz. I explained to him that I usually try to send him a fairly flat signal that he can easily tweak as he needs, other than my H and LPFing.
Then I told him that I loved how it sounded in the house (and you're darn tootin' that I go out there and check it out, so I know exactly what it sounds like), and he gave me the thumbs up.
So you can see I'm very cooperative and leave a lot to the sound tech's discretion. But H and LPFing and effects are non-negotiable.
Those who know what I want don't care, and those who do care don't get a choice in the matter. Isn't it enough that I gave up my awesome Heil mic and went to a DI? What do you want? Blood?"
Also check out the High Pass Filter (HPF) and Low Pass Filter (LPF) Mega Thread
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The Labella Low tension Flexible Flats are nice and the most comfortable strings to play. I have them on my P Bass and would not change them...not for a little more trebleThanks--I actually have thought of a set of rounds but these flats feel so damn good on the fingers
I agree with everything you said. I think half or more sound engineers shouldn't be doing sound. I hate muddy bass and too much twang, I'm not a pop and thwack kind of guy. I'm glad I own the PA!
I almost always give foh a processed signal using effects. At a minimal I'm giving them a preamp signal with a little more of my sound. This is my typical route I go for bigger stages with pro sound engineers for national acts or other bigger shows.
In my cover band we have a nice pa we run with a Berringer X18, and I am the soundman for the band. I've learned a lot about how a bass signal sits in the mix, and one thing I have learned is a bass amp on stage does not have to be super quiet, and you can blend it into a foh mix with great results. My proof is I do it every weekend. As long as your signal is good and sounds good coming off stage, it will be an asset rather than a hinderance to the foh sound.
The biggest challenge in running foh is getting a good signal out front for the drums. In most smaller indoor clubs, the drums overpower even the foh at moderate levels, and getting any depth or texture in the snare and toms is my biggest challenge as the ambient sound kills my tasty drum mix.
Bass? That's easy to get a great sound in my opinion. Let each instrument find its voice and space and all will be good. A nice bump around 80-100hz will give the low end of my bass a fullness, but still keep it out of the kick drums territory.
I've found a pretty flat eq with more than less treble is easier to work with than a scooped signal or or other path that mods it pretty heavy on stage. As we know, you can always remove out front, but you can't add.
So give the foh guy a reasonable signal at a reasonable level, and he should be able to produce s great bass tone out front.
Peace.
In my cover band we have a nice pa we run with a Berringer X18, and I am the soundman for the band. I've learned a lot about how a bass signal sits in the mix, and one thing I have learned is a bass amp on stage does not have to be super quiet, and you can blend it into a foh mix with great results. My proof is I do it every weekend. As long as your signal is good and sounds good coming off stage, it will be an asset rather than a hinderance to the foh sound.
The biggest challenge in running foh is getting a good signal out front for the drums. In most smaller indoor clubs, the drums overpower even the foh at moderate levels, and getting any depth or texture in the snare and toms is my biggest challenge as the ambient sound kills my tasty drum mix.
Bass? That's easy to get a great sound in my opinion. Let each instrument find its voice and space and all will be good. A nice bump around 80-100hz will give the low end of my bass a fullness, but still keep it out of the kick drums territory.
I've found a pretty flat eq with more than less treble is easier to work with than a scooped signal or or other path that mods it pretty heavy on stage. As we know, you can always remove out front, but you can't add.
So give the foh guy a reasonable signal at a reasonable level, and he should be able to produce s great bass tone out front.
Peace.
If you don't want to use a pick, atleast play close to the bridge and dig in a bit with your fingernails.
Hi Jimmy,I actually said that. Stumbo was quoting me. Thank you.
I cleaned up my post so there is no mistake that I was quoting you!
If I could only find my emojis
(Insert laughing to tears times 4)
TB 101: Always listen to JimmyM
I have found his wisdom quips, ironic humor, remarks and just plain truth from experience to be always spot on
He IS a pro with more experience than significant majority of posters on TB
But I just can’t talk him into using vintage Acoustic Control amps
(Insert smiley with sunglasses here )
(Insert laughing to tears times 4)
TB 101: Always listen to JimmyM
I have found his wisdom quips, ironic humor, remarks and just plain truth from experience to be always spot on
He IS a pro with more experience than significant majority of posters on TB
But I just can’t talk him into using vintage Acoustic Control amps
(Insert smiley with sunglasses here )
Well I didn't actually say that. Although I agree that they didn't sound just like each other, they didn't sound all that different from one thing to another.
I am a huge fan of the TS flats. I like the buttery soft smoothness of the feel, and they have decent hi mids. Some hate this, so YMMV. But, I agree it's not a one size fits all tone. I've found the EB Cobalt flats to be slightly brighter and slightly stiffer. And on the bass they're on, slightly more versatile
Pbassmanca
In the pocket n' thumpy. So woody, so greasy...
I think that this HP/LP filter is possibly the most useful effect ever developed for live use with the bass guitar.....
I actually said that. Stumbo was quoting me. Thank you.
Sirs, I salute you both!
In my previous opinion, the ECB81 + CV 60P stock pup + 6 months use = Dull E, Sweet A and D, Crazy Bright Metallic G.
I think this post was missed by a lot. One of those lost in the thread, tldr type deals. Seems most didn't take this into account and just suggested what works for them. Nothing wrong with that though.
I know the sound you're looking for and the easy answer would be get a jazz bass in addition to the p. You could probably get close with a p though.
Probably most of of the way with strings (chromes or EB Cobalt flats) and so close most won't notice in the mix if you change to 500k pots and/or an S1 type switch. The TBX is a good call too.
In all honesty though, I don't think you can get really close to the tone rolled off J bridge pup sound with a p bass. Or at least close enough without the clack or zing since you won't be able to roll your tone off all the way and still get enough of the sweet highs and high mids while still being a little mellow.
Good luck, I'd be real interested to see what path you take and the results.
Actually come to think of it, check out some stuff from kellingsound (I believe that's the guy). He makes a push/pull tone pot that is a normal pot in one setting and a mid scoop to mid pass tone in the other. You may luck out with the scoop. That would get you closer to the bridge J now that I remember his mods.
What’s the one trick? Is it the one that Geezer Butler has been playing since 1968? Is it the one that Steve Harris has been playing since 1977? Is it the trick that was on pretty much every non-Beatles and non-disco hit record between 1964-1982? Or is it the trick that was played on every Beach Boys album, ever, or every Pink Floyd album? Maybe it’s the trick that Green Day and Stone Temple Pilot kept playing in the 90s and early 2000s. Maybe it’s that fat tubey trick that Tina Weymouth played with Talking Heads on “Take Me To The River.” Maybe it’s the zingy rounds-with-a-pick bite we hear on all the Ramones hits. Or the Clash! Or the Cure! Every Neil Young or CSN&Y recording I can think of! The trick Bob Daisley played on the first three Ozzy albums! It’s so weird that none of those bands sound at all alike, you’d think with only one bass tone there’d be more similarities.
Maybe it’s the trick where the player plays really close to the neck and overdrives the lower harmonics. Maybe it’s the one where he digs in just behind the pickup, on the bridge side, right where the string tension has its sweet spot. Or maybe it’s the trick where you use a pick (hmmm hard pick or soft pick?) just ahead of the bridge. Or the one with dead flats! Or dead rounds! Or zingy flats! Or zingy rounds! Or the one with some tube power amp breakup across a wall of amps next to a drum riser. Or the one with that sweet smooshiness of a warm studio panel.
I wish you could help me narrow it down! What’s the one trick?? I’ve been playing for over three decades now, but playing a pure P for only about 11 years. Maybe that’s why I don’t have a recording contract!! Too much time not playing a P bass! Maybe that one trick is simply playing a P bass!!
I love the “one trick pony” fallacy. Another variant is the “get a J/Rick/Ibanez/etc, it’s more versatile because it has two pickups” fallacy. There are definitely some things a P won’t do - it won’t sound like a Jazz bridge pickup, it won’t sound like a Rick, and it won’t sound like a an EB3. If you want it to sound like those basses, play those basses. Nobody cares, nobody is judging you. But if you try to perpetuate the myth that a P isn’t versatile, or that it only does one thing, then you’re cheating yourself first and foremost, and ignoring history. Versatile to me means it can be used and is used across many styles and situations. Clearly, across history, the P bass is used more broadly than any other bass, making it the most versatile, take-anywhere bass, and everything else is limited to a particular sound. You’re allowed to like those other basses, I’m not judging them or you if you do, diversity is the first law of nature after all, and what a boring place the world would be if nobody ever sounded like Jaco, Chris Squire, Jack Casady, Lemmy, Victor Wooten, Marcus Miller, or Larry Graham. But could you imagine if everyone sounded like Jaco or Marcus Miller?
Woooo! Where’s the Tylenol?!? Lol, rant over.
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