Hi All,
A while ago, I did a cover of Muse Hysteria, and I promised a video on how I got the tone. Honestly, I've been putting it off for a while as life got in the way. I thought it would be easier to write about it instead.
If you haven't watched the cover yet, you can find it by clicking the link below:
This is a little write-up on how I achieved this in a studio style way. However, I do believe the same technique is used when they perform it live. I will include why I suspect this at the end.
Structure:
The bass track is split into 4 layers:
I only have a Focusrite Solo, so I had to re-amp it twice, first with the Big Muff. For knob positions, I have the sustain and Tone knob around 2 o'clock. However, if you have one, you may need to find a setting that works for you and your equipment:
Then again through the Human Gear Animato. For distortion and tone, I have them set around 1 o'clock; again, you may need to adjust them to your liking and equipment:
I used a BiasAmp as a virtual amp. I found it interesting that the Bass Cabs had the most drastic sound on both pedals, not the amps. Saying that, Chris uses Marshall DBS 7400 Dynamic Bass System, and has it set to Vale. When it comes to amps, you want to mimic a Valve Amp. If you have the software, experiment with the settings. I usually boost the high Mids and keep Bass and Treble somewhat flat. Tweak to taste.
When combined, all three sound like the following:
All three together sound pretty close, but it's still missing that distinct sound. This is where the sawtooth comes in. The synth itself is nothing special and can be achieved by just turning on a Sawtooth. I created a Midi sequence and then ran that through a synth in Ableton Live. I used the Jun6 V (Arturia Software Center), but you can use anything that produces a Sawtooth. As you can hear from the snippet, it's pretty horrible on its own:
Combined, it adds definition to the notes, and you get that distinct Studio recording. I have the first part as my own cover for the following clip, followed by the studio version. You can hear how the synth carries over:
Equipment:
The equipment I used was:
Live:
Honestly, I believe that he uses the same technique live. People have claimed that he uses his Deep Impact live (and in the recording), but honestly, after playing around with the Future Impact clone, I've not been able to get close. You might be able to cheat it using the software editor for the Future Impact, but considering the Deep Impact doesn't have this ability, I'm confident to say he doesn't use it.
There are two examples of why I believe he still uses this technique live.
Morgan's lightboard lights up throughout the song. This only happens when a Midi Signal is passed through it. Chris will be playing alongside this with his Muff and Animato + Clean.
The bass signal cuts out at the start of the Riff, leaving just the synth track. If you're not paying attention, you won't notice it.
A while ago, I did a cover of Muse Hysteria, and I promised a video on how I got the tone. Honestly, I've been putting it off for a while as life got in the way. I thought it would be easier to write about it instead.
If you haven't watched the cover yet, you can find it by clicking the link below:
This is a little write-up on how I achieved this in a studio style way. However, I do believe the same technique is used when they perform it live. I will include why I suspect this at the end.
Structure:
The bass track is split into 4 layers:
- Clean
- Black Russian Big Muff
- Human Gear Animato
- Sawtooth Synth
I only have a Focusrite Solo, so I had to re-amp it twice, first with the Big Muff. For knob positions, I have the sustain and Tone knob around 2 o'clock. However, if you have one, you may need to find a setting that works for you and your equipment:
Then again through the Human Gear Animato. For distortion and tone, I have them set around 1 o'clock; again, you may need to adjust them to your liking and equipment:
I used a BiasAmp as a virtual amp. I found it interesting that the Bass Cabs had the most drastic sound on both pedals, not the amps. Saying that, Chris uses Marshall DBS 7400 Dynamic Bass System, and has it set to Vale. When it comes to amps, you want to mimic a Valve Amp. If you have the software, experiment with the settings. I usually boost the high Mids and keep Bass and Treble somewhat flat. Tweak to taste.
When combined, all three sound like the following:
All three together sound pretty close, but it's still missing that distinct sound. This is where the sawtooth comes in. The synth itself is nothing special and can be achieved by just turning on a Sawtooth. I created a Midi sequence and then ran that through a synth in Ableton Live. I used the Jun6 V (Arturia Software Center), but you can use anything that produces a Sawtooth. As you can hear from the snippet, it's pretty horrible on its own:
Combined, it adds definition to the notes, and you get that distinct Studio recording. I have the first part as my own cover for the following clip, followed by the studio version. You can hear how the synth carries over:
Equipment:
The equipment I used was:
- Fender Jazz Bass
- Focusrite Solo
- Black Russian Big Muff
- Human Gear Animato
- Jun 6 V (Synth)
- Bias Amp
Live:
Honestly, I believe that he uses the same technique live. People have claimed that he uses his Deep Impact live (and in the recording), but honestly, after playing around with the Future Impact clone, I've not been able to get close. You might be able to cheat it using the software editor for the Future Impact, but considering the Deep Impact doesn't have this ability, I'm confident to say he doesn't use it.
There are two examples of why I believe he still uses this technique live.
Morgan's lightboard lights up throughout the song. This only happens when a Midi Signal is passed through it. Chris will be playing alongside this with his Muff and Animato + Clean.
The bass signal cuts out at the start of the Riff, leaving just the synth track. If you're not paying attention, you won't notice it.
