Still chasing that "Play that clankin' music white boy"

[staurosjohn]

I've had a coupla Mikros... I play aggressively... Chromes worked for me. I, eventually, gave it to a friend...

No longer available - Ibanez miKro Walnut Flat w/bag

 

[BassBrass]

Either change your technique (which you will just by putting in the hours trying to get the sound you want), try flats or tapewound (and get click instead of clank) or join a guitar band where your clank is a blessing (fits in and actually allows you to be heard).
I would also use a tone shaping pedal and light compression (as I always do depending on bass). That micro might need some clank frequencies notched OUT (like electric cellos or small bodied semihollow basses) and leave in some warm low end.

 

[Mantis Tobaggan]

Either give your truss some relief or lower your pickups. Maybe both.

 

[MrLenny1]

Just a guess here but playing aggressively on a short scale
sounds like the problem.

 

[Geddaric]

I`m self-taught and learned on a Hondo with action so high you could almost fit your finger between the neck and strings. Started playing very aggressively in order to gain a little more volume. Eventually I bought a Westone (slight upgrade) and started getting the CLANK while I played. It didn`t bother me since that was a major part of the Steve Harris sound. Once I upgraded to my Fender P I realized I didn`t need to be so aggressive with my right hand, and could still get the desired clank.

If "clank" is not your thang, my suggestion is to begin by softening your touch. If you're not comfortable with set-ups, go to a professional and make them aware of your concerns so you can have it set to your style of playing. I used to have my action set pretty high to compensate for my aggressiveness, but since have been able to lower my action and my hands/wrists/fingers are very thankful for it.

 

[Possum Willy]

Well, presurewounds click anyway. But, thats funny cause I can't seem to get any real high end out of my kid's mikro. Which is just fine for him anyway. He sounds much better not having all the fret buzz and all that from not really knowing how to play yet.

But, it's the way you play. Not your set up. Lighten up and control yourself. Roll off the strings, not hit them. Different things for different things. Know what I mean?

Thanks, I tried that last night and I didn't lose any speed on my plucking and it definitely helped! I'm new to plucking, for years I always used a pick. I found I have so much more control over muting strings and knowing exactly where/which/when string I'm about to play. Thanks for your reply!

 

[JeezyMcNuggles]

Thanks, I tried that last night and I didn't lose any speed on my plucking and it definitely helped! I'm new to plucking, for years I always used a pick. I found I have so much more control over muting strings and knowing exactly where/which/when string I'm about to play. Thanks for your reply!

Same. I learned to play slapping. Then used a pick up til recently. Been playing for 20 years, and its only been about 2 with my fingers. It was tough at first. Now, feels like there's never been another way.

 

[Stranger Danger]

Ok, I think I have adjusted this thing (Ibanez Mikro 4 string, fitted with an EMG PJ-HZ setup) to within an inch of it's life, yet when I go bright on tone, I still get the clank. And by bright on the tone I mean anything over half of my tone adjustment.

So I'm thinking I've got the wrong strings on it, originally I had GHS Pressurewounds on it, really clanked, now
(GHS Brite Flats)​

on it, better but still clanks. I've been researching other strings to see what might work and I've come up with two possibilities, both from Rotosound - JazzBass77 and TruBass88, both offered in short scale.

Opinions?

Its not a gear issue. It's technique. You are hitting the strings too hard on a shortie.

 

[Dynomuttasaurus]

Clank is an interesting beast. Isolated, it's tends to be annoying. In a live setting, it can be a good thing. On a recording, it tends to live somewhere in-between.

I've found that I don't want to readjust my basses between practice and live. The answer to clean up the clank in the bassment when practicing or recording is a combination of technique - easy up - and equalization - reduce those frequencies.

 

[Rip Van Dan]

Without hearing it my first thought is that you're playing too aggressively. Just a guess though. I have Dunlop nickels on mine and I get no clank. Previously I had Pressurewounds on it and no clank there either.

@jallenbass may have the right of it. Turn up your master if you can and play with a lighter touch to see if that fixes it. I had a similar experience running a small amp once. Put on one of my more powerful amps: played with a lighter touch; and all was right with the world once again.

 

[dkelley]

No doubt, I do play aggressively, I always have, learned from the best Chris Squire LOL

So you play with a pick mostly? (Chris did, mostly)

 

[Rip Van Dan]

one other thing I thought of. If you boost your low-mids too high, that will add what I call a "Honk" to your sound. I always boost my low mids at ~250Hz because it gives my bass some nice definition in the mix. But if I boost it too much it makes my sound honk...hard to describe, but you'll know it when you hear it. If that's the same "clank" you're talking about, try dropping the low-mids down to flat to see if it goes away. Then boost them back up, but not to the point that sound appears again.

I what you are talking about is the string hitting the fret - what I'd call string and fret noises - then drop you treble EQ to see if that fixes it.

 

[Possum Willy]

I've had a coupla Mikros... I play aggressively... Chromes worked for me. I, eventually, gave it to a friend...

No longer available - Ibanez miKro Walnut Flat w/bag

View attachment 3878044

Thanks, I do have chrome flats on my 5 String (just installed) I have to admit, the clanking is very much diminished and I really like the sound. Thanks for your reply!

 

[Possum Willy]

I've had a coupla Mikros... I play aggressively... Chromes worked for me. I, eventually, gave it to a friend...

No longer available - Ibanez miKro Walnut Flat w/bag

View attachment 3878044

What bridge do you have on that Mikro? It doesn't look original and I'm trying to find an upgrade for mine.

 

[Possum Willy]

So you play with a pick mostly? (Chris did, mostly)

I did for years, started plucking about a year ago, just to have a different technique under my belt. After I had been plucking for about 3 months, I didn't want to go back to a pick, just had so much more control on muting and shading.

 

[dkelley]

I did for years, started plucking about a year ago, just to have a different technique under my belt. After I had been plucking for about 3 months, I didn't want to go back to a pick, just had so much more control on muting and shading.

Yea.... what I dislike about pick is the tone when playing quietly. It's really thin... but loudly it's a unique sound that can't really be replicated with just fingers.

I mean, this is coming from a finger style player.

But I sat with Chris in the late 90s and watched him play while Yes was composing and rehearsing for an upcoming album (they were renting my band's space, in my drummer's home, so we all got to know each other very well). In the soft parts, when he still used pick, it was sort of boring and unexpressive. I used to think the same thing about Greg Lake's playing, although I FAR prefer Squire's playing, always have, always will (one of my idols). But he could play with his fingers too etc, just up to what ever sound he wanted... and during rehearsals/composing time he didn't care as much about the expression as he did about the entire group's performance. I get that - these guys were playing togehter for hours nearly every day.... there's only so much energy you can spend on subtlety when you're not only playing your part but also co-composing everyone's parts and producing/arranging the whole thing, although Jon Anderson was very clearly in charge of everything. Jon was the strong (very very strong) personality who kept control over things constantly, which was critical. Chris and Steve Howe were both vocal in opinions and ideas for musical contributions - Jon was the organizer as well as a principal composer. Man Jon is a crazy good musician (I mean, like, considering he's "just" a singer, if you know what I mean - most singers can't keep track of everyone else's parts perfectly let along compose it all with just the voice, and keep good organizational control over the process).

Anyhow - when they got further with their compositions, Squire started paying more attention to his own expression/tone, and it magically turned up the energy for the entire group.

Quite an experience, I'm tellin ya.

 

[bassdude51]

Aren't such terms as "white boy" kind of un-Kosher these days? We live in a very sensitive society!

 

[staurosjohn]

What bridge do you have on that Mikro? It doesn't look original and I'm trying to find an upgrade for mine.

I purchased the bass, used, but I'm pretty sure it's the original bridge. I just had to 'cut down' a couple of the screws in order to get properly intonated- but that's not a visible thing...

 

[Possum Willy]

Yea.... what I dislike about pick is the tone when playing quietly. It's really thin... but loudly it's a unique sound that can't really be replicated with just fingers.

I mean, this is coming from a finger style player.

But I sat with Chris in the late 90s and watched him play while Yes was composing and rehearsing for an upcoming album (they were renting my band's space, in my drummer's home, so we all got to know each other very well). In the soft parts, when he still used pick, it was sort of boring and unexpressive. I used to think the same thing about Greg Lake's playing, although I FAR prefer Squire's playing, always have, always will (one of my idols). But he could play with his fingers too etc, just up to what ever sound he wanted... and during rehearsals/composing time he didn't care as much about the expression as he did about the entire group's performance. I get that - these guys were playing togehter for hours nearly every day.... there's only so much energy you can spend on subtlety when you're not only playing your part but also co-composing everyone's parts and producing/arranging the whole thing, although Jon Anderson was very clearly in charge of everything. Jon was the strong (very very strong) personality who kept control over things constantly, which was critical. Chris and Steve Howe were both vocal in opinions and ideas for musical contributions - Jon was the organizer as well as a principal composer. Man Jon is a crazy good musician (I mean, like, considering he's "just" a singer, if you know what I mean - most singers can't keep track of everyone else's parts perfectly let along compose it all with just the voice, and keep good organizational control over the process).

Anyhow - when they got further with their compositions, Squire started paying more attention to his own expression/tone, and it magically turned up the energy for the entire group.

Quite an experience, I'm tellin ya.

Dude, I so wish I could have been there, listen to them talk about "the sound" all of the interactions, music and variations. I would have had a poopie-eating grin for weeks!

 

[dkelley]

Dude, I so wish I could have been there, listen to them talk about "the sound" all of the interactions, music and variations. I would have had a poopie-eating grin for weeks!

Yea, it was absolutely insane. Like, nuts. I didn't take advantage of the situation nearly as much as I could/should have. But what I did take part in will be with me forever. One of my all time favorite legendary groups, with most of the original line-up (with a different keyboardist, same guy who still works with them now - that was his first rodeo with them... and a 2nd guitarist who was much more contemporary than Howe.... ).