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Stoner/Doom Bassists Thread, Part 90: Maxed Out

Hey guys I got something to share that I think y'all may like. If you don't care for history just skip down to the song lyrics if you want. A few weeks ago I recited an old WW2 era army legend/ to my buddies about a Japanese pilot that the troops dubbed "Washing Machine Charlie". I'll give y'all a retelling that my great uncle gave me before he passed. Note: he didn't fight in WW2 but was a Bird Colonel during Vietnam and so was around quite a few career guys that had served in WW2 and heard this story from one of them. Basically I'm like a tertiary source so don't be taking this one to the bank. But ANYWAY early on in the war in the Pacific, right after American troops landed on Guadalcanal they had taken the airfield on the island(which was the main objective) and used that as their local base of operations while the island was cleared. To cause a decrease in morale, every night in the early AM the Japanese would send a lonely twin engine bomber to drop a single bomb over the airfield and fly away. The plane's engines were out of sync (whether this was on purpose or if the plane's were simply built like that I'm not sure) and this caused tremendous noise, forcing the troops to wake up and dive in the nearest foxhole to avoid his bomb. The troops likened the sound of the plane to old washing machines and so that is how the pilot got his infamous name. Despite there being anti aircraft guns, Washing Machine Charlie would always get away, and always prevent the American soldiers from getting a good night's rest. This went on for something like a month and still nobody could shoot down Charlie. Finally a fighter plane (probably a p-38, I've seen a separate interview online of a soldier telling this story and I believe he says p-48 or p-58 but there were no planes of that description during ww2 so probably an accident and he meant p-38) was requisitioned painted black, and left on standby, ready for Charlie to make his fly by. This is what did Washing machine charlie in. From the scarce interviews and articles there are about him on the internet it seems like he didn't kill a single person. Only prevented a good nights rest for everyone involved.

Anyway I was telling this story to my buddies a few weeks ago and have been thinking about it ever since. Then I started to get some lyrics in my head and finally today I've put pen to paper. Here's what I've got...

The Last flight of Washing Machine Charlie

At last we have come to the time
For Charlie to take off and fly

He Keeps awake those boys in Green
Using his old washing machine

Flying low O'er the canal
He drops his bomb and starts the royale

Tracers fly yet he remains unscathed
Looks like Charlie will fly another day

Then Charlie sees in the corner of his eye
A yankee plane painted like the night sky

The washing machine becomes a ball of fire
Causing ol' Charlie to Expire

If y'all have any comments or criticisms, like words you think will fit better or stuff like that I'm completely open to those! Best part about this though is I already have a bass line that I've been keeping in my pocket that I think will fit this song well. Maybe I'll have it made soon, only problem is idk how I'll sound in recording. But it just feels cool to have like an actual song in the works rather than just a bassline or a collection of a few riffs that I thought sounded cool. Thanks for reading :thumbsup::bassist:
 
Why would they call him Charlie? That wasn't the ethnic slur of choice in WWII and came about during Vietnam as a reference to the Viet Cong. Obviously Charlie wasn't a popular first name among the Japanese in the 40's.
Not 100% sure but I think in this instance it was purely because it was just catchy. This event wasn't isolated though and the tactic of night bombing/recon was used by all sides. I think washing machine charlie became the blanket term for Japanese night fighters/ bombers in the pacific. Whether or not guadocanal's was the first I can't say for sure. Washing Machine Charlie - Wikipedia
 
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Anyone have a part number for the jacks Earthquaker uses? I destroyed the output jack on my Afterneath (v1) and want to replace it with the same type of jack. Only 1 lead is connected (looks like tip), which seems odd but what do I know. Also, it appears to be a stereo jack (also odd). It's an enclosed-style jack, possibly a Switchcraft 111pcx but was hoping someone could confirm.

Also if someone can explain how the ground works, I would appreciate it. Is the sleeve connected to pedal housing itself via the jack?
 
Having that unquenchable thirst for a Dunwich Doomfinder again. It's just one of those days :(

Looks like Magic Pedals are doing a Witchfinder run in a while though, so realistically I could combine that with an analogue octave of choice. I hear that Valeton OC-10 is pretty good and a Meatbox shouldn't be impossible to find. Would've gotten one in the last run if Digitech had shipped to Europe. Barring that, I'm sure there's plenty of newer analogue octave designs that would work very well and I hate to limit myself to the old school of tonality. Nevertheless, new takes on old stuff seems to be the thing to push boundaries within doom nowadays. It's still Matamps and Sunns with added stuff like Conan's Rats, Fuzz faces, and HM-2s, Sunn O)))'s EQD pedal, etc.
 
Apropos of nothing, I tidied up my corner of the doomroom. Figured a pic of a pile of amps is always welcome here. Lol.
20200618_205304.jpg
 
I've had thoughts in the past about a not-for-profit label that could serve those same purposes for bands, but without trying to take advantage of the bands. Maybe such a thing already exists. At the end of the day, I wouldn't even have a clue about where to start, though.

That's the same idea I've had on the back burner for years. Unfortunately I don't think I have time to do any legwork till my kids are a couple years older. But if ya ever need/want a partner I'm down.

Haven't forgotten, but haven't had a chance to find my buddy's contact info.

Moar pedals = moar better
going straight to the amp is fun and all, but you're so right.

Anyone have a part number for the jacks Earthquaker uses? I destroyed the output jack on my Afterneath (v1) and want to replace it with the same type of jack. Only 1 lead is connected (looks like tip), which seems odd but what do I know. Also, it appears to be a stereo jack (also odd). It's an enclosed-style jack, possibly a Switchcraft 111pcx but was hoping someone could confirm.

Also if someone can explain how the ground works, I would appreciate it. Is the sleeve connected to pedal housing itself via the jack?

No idea, but I know they're real helpful, give em a ring.


Went back to the test mule with a different wiring scheme and pickups. Firebird and a Ric. So much balls, just tested to see if it works.

IMG_20200620_215901180.jpg
 
I need some advice on recording :sorry:
I have two problems
- On the bass cab, the lowest notes sound really really flabby, especially the open E (tuned in D) :atoz:I used an AKG D112 and a condenser mic as an ambient mic (AKG perception 170).
Do I necessarily need to couple the cab mic with a DI signal? Or use a compressor? It really sucks :atoz:
- On the Guitar cab, I used two paired symmetric SM57, one for each cone, sounded fine but I had a weird problem...
At some point in the song, I can clearly hear a phase inversion. I checked if it's a phase problem and it is... I think
I am sure I didn't touch the mic while I played. What the f. happened? I really don't want to split the tracks on Reaper and fix this crap manually :eyebrow:
Anyone has an idea of what could be the problem?
 
I need some advice on recording :sorry:
I have two problems
- On the bass cab, the lowest notes sound really really flabby, especially the open E (tuned in D) :atoz:I used an AKG D112 and a condenser mic as an ambient mic (AKG perception 170).
Do I necessarily need to couple the cab mic with a DI signal? Or use a compressor? It really sucks :atoz:
- On the Guitar cab, I used two paired symmetric SM57, one for each cone, sounded fine but I had a weird problem...
At some point in the song, I can clearly hear a phase inversion. I checked if it's a phase problem and it is... I think
I am sure I didn't touch the mic while I played. What the f. happened? I really don't want to split the tracks on Reaper and fix this crap manually :eyebrow:
Anyone has an idea of what could be the problem?

Mic recordings aren't my field, so I can't help you with the phasing issue (move the mics around? idk :D), but for the former question I'd at least evaluate your signal at each point to see where the flabb gets introduced, starting with bass using the amp's direct (if there is one), then going backwards through the signal chain to amp pre/effects, instrument, and whatever lies in between. That should help you determine where that feeling comes from and make it clearer what the issue to address is and what you can do to mend it.

As for a DI, I'd always use one and I do recommend one, but I guess I'm personally a bit much there with the eight channel DI mounted to my pedalboard :p
 
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Mic recordings aren't my field, so I can't help you with the phasing issue (move the mics around? idk :D),
Fact is, mics shouldnt be able to switch phase in the middle of the song... :eyebrow: They are in phase, or they aren't... Not "some parts are in phase and some are not". :eyebrow:


but for the former question I'd at least evaluate your signal at each point to see where the flabb gets introduced, starting with bass using the amp's direct (if there is one), then going backwards through the signal chain to amp pre/effects, instrument, and whatever lies in between. That should help you determine where that feeling comes from and make it clearer what the issue to address is and what you can do to mend it.

As for a DI, I'd always use one and I do recommend one, but I guess I'm personally a bit much there with the eight channel DI mounted to my pedalboard :p
Thanks! I think the problem is with the mic'ing tho. The amp and cab sound really steady to the ear, in the room. It's only the recording that sucks :blackeye: :atoz:
 
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@oZZma

Have you tried adjusting the position of the mics on the bass cab? Do you hear the "flabby" sound from both mics you're using on the bass cab?

For the guitar cab, you're using two mics but each is on a separate cone? Why? Also, do you notice the phase issue only in certain frequencies or throughout the frequency range?
 
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@oZZma

Have you tried adjusting the position of the mics on the bass cab? Do you hear the "flabby" sound from both mics you're using on the bass cab?
The ambient mic is too far to provide any punch... so flabbiness is not evident on that one. BTW maybe that D112 was not the best choice for a bass cab. :atoz:
Yep, I moved it a lot, this was the best compromise.

For the guitar cab, you're using two mics but each is on a separate cone? Why? Also, do you notice the phase issue only in certain frequencies or throughout the frequency range?
I tried with one only mic at the beginning and didn't sound similar to reality at all :oops: With 2 it goes closer...
As for the frequency it doesn't seem to me to be specific to a frequency... But I'll check tomorrow, now I'm not sure. Thanks! :)
 
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The ambient mic is too far to provide any punch... so flabbiness is not evident on that one. BTW maybe that D112 was not the best choice for a bass cab. :atoz:
Yep, I moved it a lot, this was the best compromise.


I tried with one only mic at the beginning and didn't sound similar to reality at all :oops: With 2 it goes closer...
As for the frequency it doesn't seem to me to be specific to a frequency... But I'll check tomorrow, now I'm not sure. Thanks! :)
As an experiment, put the P170 where the D112 was and try that. See if the flabbiness is still there (also if the P170 has a pad option I'd engage that option). You sure you're not overloading the preamp?

As for the guitar cab, I'm not surprised you didn't think an SM57 sounded similar to reality. It's not by any means a "transparent" mic. Just look at the frequency response chart.

How you have the two mics on the guitar cab configured could also be an issue. Are you using a "standard" configuration like XY or ORTF?
 
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As an experiment, put the P170 where the D112 was and try that. See if the flabbiness is still there (also if the P170 has a pad option I'd engage that option). You sure you're not overloading the preamp?
I'll try this test, thanks...
How can I check if I'm overloading the preamp? :bag:

As for the guitar cab, I'm not surprised you didn't think an SM57 sounded similar to reality. It's not by any means a "transparent" mic. Just look at the frequency response chart.

How you have the two mics on the guitar cab configured could also be an issue. Are you using a "standard" configuration like XY or ORTF?
XY, I guess? They are perpendicular to the centre of the cones

ETA: It also crossed my mind now that maybe one mic is faulty?
 
I'll try this test, thanks...
How can I check if I'm overloading the preamp? :bag:


XY, I guess? They are perpendicular to the centre of the cones

ETA: It also crossed my mind now that maybe one mic is faulty?

If you're overloading the preamp you should hear distortion, which might come across as "flabby," even when your recorder's levels are turned down and you don't see your levels clipping. "Flabby" is a pretty subjective word though :)

Here is some good information about stereo mic setups: https://www.dpamicrophones.com/mic-university/stereo-recording-techniques-and-setups It's a pretty deep and technical subject, but that's more than enough to at least get started.

It's possible one of your mics is faulty...try each in the same position, same mic cable, etc and listen for any differences between them.
 
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