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Does Bass Sound Better Dirty?
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- Опубліковано 15 сер 2024
- Saturation is an oft-underlooked aspect of great bass tones. Some might say criminally underrated. Today on The Stringjoy Show, our own Philip Conrad tests his longstanding belief that a little saturation is a welcome addition to any bass tone.
Philip Conrad is an Atlanta-based bassist and video contributor at Stringjoy. Check out his channel at @philipconradmusic
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Which tone did you prefer? Why?
I had so much fun making this video. Thanks Stringjoy for having me! ⚡️
Good to see you younger players rediscovering what we old session players have known about since the 60s. Nice vid!
"Does Bass Sound Better Dirty?" Short answer: yes. Long answer: also yes, but here's why . . .
99% of the time, saturation will help 'lift' the track in the mix. It will help almost any track. I use the softube saturation knob, it works well. Sometimes I use it in conjunction with Softube's Bus Processor (it has saturation), just to kick it up a little.
I love that saturation knob!
For me, the added character isn’t as important as the fact that lower frequencies tend towards being felt more than heard. Especially on systems that don’t have great bass response. Adding/enhancing the upper harmonics with saturation provides higher frequency information that helps the bass part be heard better rather than mostly felt. Especially in the context of a mix. Although then you also have to make sure that those upper harmonics aren’t fighting too much with other instruments.
Stringjoy, flatwounds when? 😂
I agree, please make flatwounds soon
Manufacturing flats is a huge leap! But I trust Scott & his ace crew that they will make the best or not enter that market.
@@billgaber4282 Yeah definitely. I've been curious for years whether Bass Braodways would be an addition to their line that people would vibe with.
More distortion, even a little, will definitely give more texture to your track and let your track stand out more.
I understand why you re-amped, but it removes the sonic and physical feedback you get from playing the amp. I have a B-15N too. I get different response playing the amp vs direct, and that makes me play differently. The same thing as playing in a studio vs on a stage. The same thing as playing with IEMs vs using monitors vs a big amp on stage.
The amp sounds thinner. You can see it in the waveform and the frequency analysis. You might need to turn up the bass on the amp a little bit. This makes sense because the tubes are compressing the signal. This will affect the lows more than the highs because there is more energy there.
Of course using a Tube Amp will make the sound better, my neighbours like the clean sound more though, so its just for recording, once a week or so. Just the compression on the signal made it sit much better in the mix.
Thanks for an insightful video. I've really enjoyed two strategies. 1: record two tracks simultaneously from a GED-2112 or 2: D.I. through a U5 class A and add I.R./emulator plug-ins during mixdown. I no longer wonder "what if I had moved that amp's mic a little".
With it dirty, the tail end stands out longer. It's smooth on attack and goes dirty during the tail out. It also makes your fret slide stand out.
The smoothness of the snare drum and cymbal take up much of the mix because both of their tail is longer and fitting in a lower frequency needs to have grit . Filling that space under them needs volume. Highs are on top of the bass.
Some grit is nice! Just a bit will not be very apparent but there’s hints of it.
You should do a part 2 video of this where you use various pedals for saturation - because we don't all have a B15 nor would we use it in a Live setting if we did.
Or plugins
Check out plugin alliance they have a great B15 emulation. I’ve been using it for years it sounds awesome.
I use my Cali 76 BC for this. The compression is an unavoidable side effect, but by no means why I use the pedal!
My "clean" tone is a compressor and Tech21 Sans amp. It's kinda filthy.
If I'm playing with nothing it's going to be a blues gig with 10 year old flats. Those are, sadly, few and far between.
But to actually answer your question. A little dirt is what makes it a bass GUITAR.
One thing to note as well is how much more sub-bass the DI track had as opposed to the amp track. Perhaps to get closer to the amp track with just a DI, playing a little closer to the bridge (probably just behind the pickup or directly on it), as well as a saturation plugin may help. That very low sub-bass is great for certain genres, but in the context of this track it doesn't blend as well with the kick (IMO) and detracts from the note definition and energy of the song
Also maybe a little high pass on the DI could help too.
I like some dirt. Use nylon tape flats on Guild Starfire, Squier SS Jags, Squier Jazz. Ampeg flips. 500 and 800. Ashdown Studio 15. Thinking of getting a pedal for the Ashdown. The drive knob is so dirty at 1 it's unusable. The Ampegs work well for grit but they're so heavy I use the Ashdown out. Thanks for the video.
Full disclosure I have a P Bass & an Olde Epiphone ebo .. but I never tell other musos's I am a bass player .. I just play bass on my stuff .. But for me the blended with a little grit sounds better almost all the time .. I use an old mic pre amp & an old 4trk cassette recorder to get a blend & I often use an out to an old surround sound sub woofer for clean low end .. but I also use keyboards to try & sound as smooth as the way you guys play .. Gtr player not a real Bass player lol
I use some compression and a Tech 21 RBI sounds great
Well, the reamped signal sounds better than anything else you compared it to. I'd like to say that normally a DI/transistoresque tone hits you in the gut while a mic'd tube amp generally hits your spine. It's very obvious when playing the two types side by side without recording. That recorded fliptop however is a fantastic tone.
I don't go anywhere without an Aguilar Tonehammer DI with AGS engaged :D
The amp is like a buttery, smooth tone, with a bit of olive oil to get some grit at times.
I use uad b15 plugin, I had tried a bunch of stuff before but once I tried that it was game over. Is great To overdrive and just has a great tone. Also before I go into my interface I’m using a Moog MF Drive into an RNDI. The RNDI while subtle, really brings out the bass in an interesting way.
hey guys I chose this as most recent post ( grt interview I play Bass too ) But my burning question & I have tried contacting Fender no reply .. so here goes in the mid 80's Fender made a range of strings called Fender 'Rock n Roll ' I used the Medium range all the time & I played an Ibanez 24 fret Musician ( I should never have traded that one in ) but I just cannot find out what gauge the originals were .. I know that the high E was quite a thick string like an 11 & plain g was really strong .. I never used to break strings .. But the Low E & A were not as heavy as some sets I have tried .. if anyone actually knows please let me know & I will send you my order next Pension day . cheers from an old Muso in the Olde Forest of Deane in Englande .
The reamped signal has significantly less low end too.
Also the Softube is not nearly as cool as the amp. Something in the amp signal is giving a wonderful bloom on that lowest note in the bass line that the Softube plugin did not provide.
I prefer the clean.
Amp for my taste
This drummer /keyboardist can't hear the difference, even with ear buds 😂 Subtle
This guy looks familiar. Lol.
Every bass player is using drive right now. It's been in vogue for quite some time. The next generation will probably play completely clean to differentiate. I use both. I use drive sparingly though as I feel it has a habit of sounding better to the player than it does to the audience. Recording is a whole other thing, but live I often notice that when the bass player switches to a drive sound thinking their sound is getting bigger and more badass, it in fact sounds smaller and less clear. Clean is super powerful and bass players have demonized it as "sterile". We've kind of forsaken the simplicity we once enjoyed and joined guitar players on the never ending materialistic quest of finding the perfect drive sound.