Who here feels like drive slows down their playing?

[Zbysek]

I generally agree that overdrive changes transients. IME, it can be used in order to make the bass sit better in a mix. With clean bass signal, some transients tend to jump out of the mix unnaturally. With mild drive/saturation, the bass blends with the rest of the mix more naturally.

Of course, transients can be dealt with using a compressor as well.

I, personally, prefer using saturation/drive over compression to shape the transient of the mids and highs frequency range.

For lows, I prefer using standard compression.

YMMV

 

[jimfist]

I, personally, prefer using saturation/drive over compression to shape the transient of the mids and highs frequency range.

For lows, I prefer using standard compression.

^^^This.

 

[Medicine Man]

Im with you Tony, overdrive "smears" the attack over a few milliseconds longer than a clean sound. This makes the initial note envelope, as well as the tail, trail off slightly more slowly. Whether trading that small amount of responsiveness for extra harmonic content is worth it can really depend on what you are playing.

 

[FaithNoMan]

Then you're using the wrong tool for the job.

This.
Billy Sheehan and Chris Squire would agree.

As well as Dick Lovgren, Justin Chancellor.....and the list goes on and on.

And I'm late to the party, lol. I just scrolled up a little.

 

[L-u-A-R]

My perspective on good metal bass is relevant to this.

The perspective is an analogy:

First make the finest of fine art.​

Carefully choose the colours, make every detail just right.​

It must be perfect before we smudge it.​

Whether it's too my taste or not, there are many metal bassists with insane technic who are masters of 'smudging' speedy bass.
They certainly do impress.

 

[BEADist]

You have a valid point…
I have had this discussion with several engineers that describe some saturation effects in the top end.

A good example is the type of soloing that influenced me by Jimmy Earl.
That dude, is seriously underrated.

Skip to the 4:15 mark in this video. I would find that type of playing challenging with dirt. I’m not saying this is for everyone, however I dig it and it’s also similar to how I approach.

It's not my distortion that makes me unable to play like that : )

I do play simple stuff with 1/16 at 150 bpm with a lot of distortion, never feels like slowing me down.

 

[TonyP-]

It's not my distortion that makes me unable to play like that : )

I do play simple stuff with 1/16 at 150 bpm with a lot of distortion, never feels like slowing me down.

Nice

 

[Thunderthumbs73]

Cliff.
Geezer.
Timmy.
Justin.

Truth is drive hasn't always been something a lot of bassist purposefully utilized until newer tech made it possible to play loud without distortion.

If you listen to solo'ed bass on a lot of recordings you'll notice more drive than you realize listening to it in the mix.

Nothing I disagree with here.

 

[_Some Dude]

I can see why that would work for you.

I come from the exact opposite environment…When I was doing Blue Man, you are cutting through 4 sets of percussion a night. I need to be precise and forward.

I think it's a tool for a job. My preference probably wouldn't be ideal in a jazz ensemble for the same reason someone's Jaco tone probably wouldn't be ideal in my rock ensemble.

I also never originated at this point. I used to use a cleaner sound, and it sounded great in previous (classic rock, soul, R&B) bands, then my last few (metal) bands I started getting buried, so I gravitated to more drive and top end for the harmonics and percussive clank. If someone asked me to play R&B again I'd probably switch back to a fat baby making tone.