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Stoner/Doom Bassists Thread, Part 90: Maxed Out
- Thread starter Korladis
- Start date
Morning.
I like coffee table basses. I love the look of figured wood (heh, heh) and all the cool things they do with it via stains and such-like.
I like coffee table basses. I love the look of figured wood (heh, heh) and all the cool things they do with it via stains and such-like.
I am picky about which ones are "cool" to me, at least. I really like spalted maple and AAAA quilt and up. But if the overall design is there, I don't care what wood is used. If Carvin could have previewed bodies, I would have gone 3TSB on ash. I like some of the grain patterns the wood can have.
Edit. A luthier that frequents that and the bass section, has a spalted maple Fenderbird that looks awesome.
Had Supervoid practice last night for the first time in a few weeks. Things have been crazy busy this summer between jobs and vacations. Guitarist and I went in a bit early so I could do some knob turning and see how my tones sit with his in the mix. When we had two guitarists, I really liked the very mid present aggressive tone I got with the Wizard Fuzz because it helped me cut through, but now that we have just one guitarist, I have been feeling my tone was a bit too fizzy and middy. I found some really usable tones that I liked with the El Oso and the Bluebeard, but in the end the Wizard Fuzz won like usual. Had to do what I considered some counter-intuitive adjustments but it got me some real killer tone. The way I have it set now, the WF actually sounds rather similar to the El Oso, except it's fuller, deeper and has more of a musical tonality (I think more of the EGC tone is coming through).
The WF never ceases to amaze me. Pedal is so damn tonally diverse. I can get it to sound pretty close to the El Oso, to the Bluebeard, and I can get several other usable but pretty different tones from it. I'm really happy with where my tone is at right now, and now I'm thinking I'll just stick with the Terror Bass (I know, after all that...). But the TB has big clean power and is an incredible pedal platform. I figure any other tone that I want to chase after, I can probably find a pedal to get me there.
Here are my WF and TB settings if anyone is interested. This is with the bridge pickup and tone maxed on my EGC.
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Also, we've got a solid 7 songs either finished or almost finished that are all 5-6+ minutes. Going to have a solid stable to pick from to do our 12" split, and then our next full length will already be half written lol. Things are going well in the Supervoid camp.
The WF never ceases to amaze me. Pedal is so damn tonally diverse. I can get it to sound pretty close to the El Oso, to the Bluebeard, and I can get several other usable but pretty different tones from it. I'm really happy with where my tone is at right now, and now I'm thinking I'll just stick with the Terror Bass (I know, after all that...). But the TB has big clean power and is an incredible pedal platform. I figure any other tone that I want to chase after, I can probably find a pedal to get me there.
Here are my WF and TB settings if anyone is interested. This is with the bridge pickup and tone maxed on my EGC.
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Also, we've got a solid 7 songs either finished or almost finished that are all 5-6+ minutes. Going to have a solid stable to pick from to do our 12" split, and then our next full length will already be half written lol. Things are going well in the Supervoid camp.
I'd like to reiterate my preference for your vocalist to not do growly vocals. I really dug his clean vocals on "Filaments" and how they were sitting within/on top of the heavy.
I got my Dingwall used. Finding one of those basses for a decent price is challenging enough, so I didnt care what it looked like because the sound and playability was there. I would never go with a flamed top if I was ordering new, probably something like the open grain color on this SPZ. Solid color, but you can still see the wood grain. I think it is a classy/subtle way to show off the wood grain, with out being all "Hey look at this!"
That said, I really dig the flamed maple on my dad's supra.
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Thanks guys. I think you'll really like the new stuff we're working on... There are still some heavy vocal parts, but we're not really doing anything like Wake of the Smoke Jumper where it's 90% death metal vox. I agree he does both well, but he's one hell of a singer. I think his cleans are more impressive because he has such a musical voice, and it helps the music stand out more. We certainly haven't said "no more heavy vocals" but we've been making an active effort to write music that gives him more of an opportunity to do his thing. I think the Against Sunrise single we did for the zombie movie is a pretty good example of the direction we're trying to head in vocally.
Put the cookies back in the jar, it's not snack time yet
I love the Warwick finishes like on the pictured Dingwall.
This is going to seem like a noob rant. But I was curious how many of us have the problem of the floating tone. My equipment never leaves my study, as I've quit playing with people and my back can't handle moving the cab any more. Almost on a daily basis, I'm finding I need to tweak my settings. Everything I'm running is solid state and effects driven. Basically running my fretless or my B301 (Guild) into my effects pedal (GNX2) to my amp and 4x10 cab. I'm running a few patches, but mostly one that I've set up that has an over driven amp sound and smooth distortion with heavy bottom end. There is a slight delay and chorusing going on and that's about it. Day by day, I find myself tweaking this or moving to different patches, then back to this one. It's like I'm chasing a tone that was awesome yesterday, but sucks today. Is this just my ears or is my rig changing on a daily basis? I thought solid state would be, well, solid. I was for a while trying to achieve Ron Now's tone, but realized I was about 3500 watts off.
Yeah, here ya go:
The next bass I get will be a horrible green color though.
You know it gets my seal of approval! I actually love that bass haha. Would prefer a darker fretboard though. Carbon fiber would go great with that pick guard
I'd vote it's not the gear, it's your ears. Not saying there's anything wrong with them, but with digital/SS gear, the real variable is the fragile human, IMHO.
I think the problem with tone chasing is in our heads.
Whether it's our ears or what's between them. I know I hear things differently when I'm tired compared to when I'm fully awake. Which I think is the difference in hearing and listening. I have a rules that I don't tweak knobs when I'm tired or distracted cause what I come up w with then never makes sense later.
Whether it's our ears or what's between them. I know I hear things differently when I'm tired compared to when I'm fully awake. Which I think is the difference in hearing and listening. I have a rules that I don't tweak knobs when I'm tired or distracted cause what I come up w with then never makes sense later.
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You know it gets my seal of approval! I actually love that bass haha. Would prefer a darker fretboard though. Carbon fiber would go great with that pick guard
The NG-2 is only available with a maple board. They build ONE yellow one with a rosewood board, but that is Nolly's prototype. I would prefer a dark fingerboard myself, but it isnt available on the model. I could look for a different bass, but I am really digging the pick up alignment on this one.
Yeah, when I was still having weekly practices I'd get everything dialed in and sounding amazing, leave the pedalboard at the practice space, out of its case, leave the amp set the same way, then come back the next week and it would sound much less awesome. It happens.
