Ok, so the "work band" is going well so far and I'm getting used to paying bass with other people.
I'm trying to get everything sounding as good as possible from my end and hoping for some guidance.
This vid is a great benchmark P bass tone, and looks like a Nobel preamp into an Aguilar AG700. I do not have those (and don't really want to spend any money at this stage!) but I have an HX Stomp and a bunch of guitar pedals, and the "P with flats" bit is covered. I've been using the B15 amp model with LA Studio comp in front and a little bit of DOD Looking Glass for a little bit of rasp when I want it. EQ is pretty much flat, save for a dropoff below 50Hz
Any suggestions together nail this "fat but not wooly" thing? Different comp, more extreme EQ?
Comments
So, remove the amp model completely. Use the compressor of your choice and put an EQ block in.
EQ it so it’s a bit too bright for your tastes… and then back the tone off on the bass until it’s fat enough.
If you do want a little grit, then use the Tube Preamp model first in the chain, more like an old valve desk.
https://soundcertified.com/speaker-ohms-calculator/
Live I would use a straight-sounding but powerful amp and play with a medium to soft touch. No comp unless just to limit the odd peak. I like flats for this, but also use rounds with the tone turned almost right down on the bass (until it sounds best).
Recording I use a 64 P Bass with rounds, and the tone off. I shape my sound with compression, as the tone from that bass is correct for any track, be it electro, rock or soul.
As Fretmeister says, tube preamp first and shape it with compression, no rules for this, but start with a preset. It takes ages to get where you want, and you will find it is simpler than you think.
A lot of tone is from your right hand, of course (if you are a right hander, that is). If you are looking for twang, please don't, that's where the trouble starts.
Try them all. In the "wrong" order too.
https://soundcertified.com/speaker-ohms-calculator/
Maybe, even, try the James Jamerson "claw" one finger technique. This approach limits how many notes you can sound at the same time, hopefully ensuring that you choose only the best ones.
B15 > high and low eq > studio comp
the high low eq let’s you use a HPF to cut off the subs, and also roll off as one of the highs.
What's really amazing is I was chatting with the bassist from the best other band on the night and he was in awe of my tone, to the point that he was like "look at this video - you made it sound like this!" and it was the very same video I posted up top, so I'll take that as "Mission Accomplished"!!
https://soundcertified.com/speaker-ohms-calculator/
I can justify the first one in the name of "I will never need a bass amp", but a second is much harder!
I haven't got that excuse.
https://soundcertified.com/speaker-ohms-calculator/
If that Origin box can do it I might have to start saving some pennies!
https://soundcertified.com/speaker-ohms-calculator/
https://soundcertified.com/speaker-ohms-calculator/
Our gig last week was a perfect example of it - most bands were way too loud, heavy bass and either muffled or squealy guitars. We had a much more subtle mix and it's obvious from the videos of both (and comments from the crowd on the night) that we had the extra "something".
Non-musos don't understand it, but they sure as hell know when it's not there