I saw that Bruford band with Berlin on tour, and they did Joe Fraiser, which was killer. They also did the song that was the prototype for King Crimson's "Indiscipline" a few years later, the asymmetric pulse over which Bruford did his amazing fills. I'm pretty damned certain Berlin was playing through an SVT, but most of that sound is from his fingers - a very, very powerful, fast and precise right hand.
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On the Berlin track I hear a fair amount of compression that is often the secret sauce in a great studio track, especially when the bass is that forward in the mix. he also has a consistency in his attack that comes from being a master of the instrument. I think you could get this tone from a great many setups. I can get a very similar tone from my jazz bass/Eden/Tc Electronic Sparkle Booster/BBE compressor/TC thunderchild combo. That is a VERY high fi rig, but the two pedals dirty up the tone a lot and make it sound more vintage if I want. Cheers.
On your Hartke, crank the mid knob all the way, and see how that sits.
It's apparently got a Fender tonestack in there. Bass and treble are boost only, and mids are cut only.
Maybe that might fix a bit of your issue?
It's apparently got a Fender tonestack in there. Bass and treble are boost only, and mids are cut only.
Maybe that might fix a bit of your issue?
Out of the things you mentioned, I would look at the Markbass. Combine that with a good compressor and you are on your way.
Gallien Krueger RB-II 700/115 combo. Not on your list. But one can easily get this sound with a jazz from it. Adjust the knobs to the RB800 setting. GK wrote this in the manual. You can download the manual. Not sure if GK stil makes this combo. My suggestion is buying the combo secondhand. Its al you need. guaranteed.
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This is me with the old Hartke and I like how that sounded (for as much as you can hear the tone through the camera's mic).
I play the exact same things on the LH500 but the tone is completely different. So I no longer believe tone is just in the fingers.
Indeed the settings of LH500 are strange, I didn't know about 3-10-3 but that makes sense. Only with bass turned down to 3 there's hardly any volume left.
Anyway, I'll be looking for a combo this week, so I'll make sure to check the rumble and Markbass.
Any thoughts on the others?
Actually I liked the tone of an old Roland cube I played on recently, but I'm afraid, like Hartke, the new ones will sound different.
I play the exact same things on the LH500 but the tone is completely different. So I no longer believe tone is just in the fingers.
Indeed the settings of LH500 are strange, I didn't know about 3-10-3 but that makes sense. Only with bass turned down to 3 there's hardly any volume left.
Anyway, I'll be looking for a combo this week, so I'll make sure to check the rumble and Markbass.
Any thoughts on the others?
Actually I liked the tone of an old Roland cube I played on recently, but I'm afraid, like Hartke, the new ones will sound different.
Currently playing Rappers Delight ( of which Chic was the rhythm section ) with my own band. Sounds great with a fretless Stingray with roundwound lights played straight through ( nothing between the bass and the amp but a single cable ) a Markbass CMD121H.
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I am not sure. My experience with the MB115 series was just playing it once. And I could not find this sound. With the RB series the settings are crucial. Once you know it its easy. Might me be the same with the MB115.
Nice playing handsfree! I used a Hartke 3500 for YEARS, until it finally died. The new stuff doesn't do much for me either.
Really? One thing that I really like about flats is that you can turn up all the frequencies without any of the nastiness.
Yep lovely playing bro, I could hit one two root notes only.
Have a bit more of a play with the Hartke and really bang up the mids and go a bit higher on the bass.
For me the volume is still there with bass knob on about 4/5 but then again MFD's are super hot on G&Ls.
I found with my amp there is a big volume jump from 2-3/4 where it suddenly comes alive, not had reason yet to go any louder but I have the LH1000.
For me it works and it drives the sound for what I want with the HX410s as they were made for each other.
Ultimately, you need a time you are happy with, and if I could play like you I would be happy if it was fishing twine on a stick and can through a megaphone
Have a bit more of a play with the Hartke and really bang up the mids and go a bit higher on the bass.
For me the volume is still there with bass knob on about 4/5 but then again MFD's are super hot on G&Ls.
I found with my amp there is a big volume jump from 2-3/4 where it suddenly comes alive, not had reason yet to go any louder but I have the LH1000.
For me it works and it drives the sound for what I want with the HX410s as they were made for each other.
Ultimately, you need a time you are happy with, and if I could play like you I would be happy if it was fishing twine on a stick and can through a megaphone
Cool, We play Rappers Delight sometimes too. That's another + for Markbass then.
So what did you switch to?
I never tried flats to be honest. Maybe I should.
Thanks. I haven't given up finding an amp I like yet though.
From what I heard Bernard would just rock up and play whatever he'd got, and out the other end came hit records. I think it's easy to lose sight of this for the gear-oriented.
That video above suggests you like quite a hi-fi sound. The LH heads don't really do that. I gigged an LH500 for three years and in all honesty I thought it was a great amp. I sold it to buy something more portable (a GB Shuttle) but I still think the LH was the better-sounding head.
That video above suggests you like quite a hi-fi sound. The LH heads don't really do that. I gigged an LH500 for three years and in all honesty I thought it was a great amp. I sold it to buy something more portable (a GB Shuttle) but I still think the LH was the better-sounding head.
VERY good point!
Also I saw the Gradually Going Tornado tour from Bruford at the Roxy in Hollywood. That show royally kicked ass but Jeff has said that whatever equipment he's using he's still going to sound like Jeff Berlin. BUTT he's also a big endorser of Markbass at the moment. I've never yet encountered a playing situation that my Markbass CMD121H hasn't handled really well and I'm very partial to getting good traditional funk and R&B type bass tones. So I would suggest at least trying one of those if you can find a store that stocks them. They are a lot different to my ears than the smaller CMD121P. A LOT different so I'd say try the CMD121H and see how you respond to it.
In the bigger picture the sound does indeed come from your fingers.
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The VINTAGE button - I think - basically cuts hi's and a lil lows. And adds a little. .tiny bit of grit to the tone.
I agree. ...B.Edwards is all in his fingers. . A RAY with flats is it really. But as stated. . A P bass or even a Jazz bass with the front pick up rolled off a lil, flat wound strings and lotsa talent will get you very close!
Yeah the J is plenty willing to provide this tone. If you want a real vintage sound from that time find a GK 400RB and a 4/10 sealed cab.
As above - all bridge pup don't be stingy on the mids and not too much mud. Good to go. Been there, done it.
Gave it up 20+ years ago too.
As above - all bridge pup don't be stingy on the mids and not too much mud. Good to go. Been there, done it.
Gave it up 20+ years ago too.
