The thing about tone shaping is that every speaker cabinet and every amp has specific overtones, cancellations, and all kinds of other stuff that goes into the sound. Same with rooms, instruments, and everything else. You can take an Ampeg and EQ it all you want, and I'll probably still not like it all that much. Unless it's a 1965 fliptop or something, but you get the point. The angry piano sound isn't just EQ. It's all the overtones that stack up on top of the EQ. I get everything from mud to really clear angry piano out of the 'Bird and 360 stack. The only drawback is that it's directional, which makes it somewhat difficult to hear on stage at times. Or completely overwhelming. But those are a different issue to deal with. I have had the same problems in some rooms with the little Carvin combo, too.
I love how Ampeg tube amps sound. They have this "plinky" thing happening in the treble/upper mids that I just don't hear on other amps.
I should probably get one at some point.
All this is a far cry from my gigging days, it was just a case of plugging in and wanging everything up to max (other than gain), no pedals nothing, just go for it. Mind that was mid/late 70s punk
Why not gain as well?
I still can't wrap my head around using effects on bass. I spent a LOT of time and money to get it to sound the way I wanted as it is!
What's so hard to understand about it? Seems pretty obvious to me. People want sounds that you can't really get without effects.
If I want reverb, well, my amp doesn't come with it, so I need a pedal to do that live (in the studio obviously just studio reverb is used). If I want even more overdrive for one part than I normally get from my amp, well, there's a pedal for that, too.
Funny thing about effects: soon as I put them in the band situation they just disappear under the drums and guitar. I still wanna add a chorus for a couple songs, but that's a punch in/punch out thing. My distortion (MXR M85) stays on all the time, but with the distortion cranked way back to more of an overdrive, with a lot of dry signal coming through.
They can be difficult to dial in. Most of mine have a bit of boost going on to get louder, and the Dunwich Muff-based fuzz I have has a mids knob to avoid scoop. My regular overdrive I just get from the amp. Effects like my reverb and my ravish sitar pedal I mostly do either when the guitars aren't overdriven, or when I'm playing high up enough that it's audible anyway.
Yeah I get that. It's the only reason I can see for all 'what's flat' questions.
That and that the tone controls don't work how people think they should.
It makes for a good starting place and also if you know that your tone controls are NOT flat when set at noon or "5" on numerical knobs, it gives you a better idea of how they work.
No, no - gain as well.
Out of three pedals (not counting the tuner) there's only one that's on. I could do without it, but it helps get my sound the way I want it, and could be regarded more as 'tone enhancement', ie it's subtle enough that most people - including many bass players - wouldn't notice it as an effect at all.
Having a (chopping) board and power supply does lower the threshold for pedal proliferation though. A power supply is better than having dead 9V batteries end up in landfill.
I could play a show without any of my pedals, and had to a couple months ago because one of my cables died. I prefer having the effects available, though. Most of them aren't on most of the time. I don't use any of them as a basic part of my sound; they're all for specific purposes at specific parts of songs.
I stopped using batteries for power years ago. Just too expensive, too annoying to constantly replace, too much inconsistency in sound depending on how close to being drained the battery was.
I can get an slightly overdriven sound out of my amp's pre, but I'm pretty sure it would kill it in the long run. So I first bought a big muff, but it sounds like underwater farts, last week I bought an aguilar pedal and I'm quite content. Usually I enjoy the sounds my amp produces, but sometimes I need a tad more.
Not starting an effects collection, though, because chorus and such are for guitarists imo.
Only other stuff I got is a P90, because Phil Lynott might've used it on "Dancing in the moonlight". I barely use it, just doesn't sound right.
It won't hurt your amp's pre to overdrive it.
Big Muffs are generally scooped unless they have the tone wicker. I use a Dunwich Amps Big Muff based pedal that has a mids knob, so I have a boosted mids fuzz tone.
The bassline on Bowie's Heroes was tracked with chorus/flanging and Barry Adamson of Magazine used chorus/flanging to great effect, but it is something best used with restraint and moderation.
Dave Edwardson in Neurosis uses chorus to cool effect in Locust Star:
Here in murica we have hoods and trunks, not boots and bonnets, and waste comes out of the female fanny, not babies. We drive on the right side of the road, right being synonymous with correct, however I disagree with that synonymity applied to politics. In the UK, I think left being synonymous with correct would actually fit my leanings.
So apparently bumper is synonymous with fender on that side of the pond. Me showing typical murican viewpoint there. So I stand corrected in other regions.
Don't kick me out of the club though. I have bonded with bird #1
I always just assumed that the joke was more basic than that. A Fender is a part of a car. A bumper is also part of a car. Just "heh heh, we're calling them car parts."