Wow, I am TERRIBLE at keeping up with comments, haha! Sorry, man; but yeah, tomtik is right, it's a Carvin LB70P (but with the Icon's headstock, because I thought it'd look cooler).
Ah, yeah, I agree. I haven't tried to transcribe or learn too many of Paul's parts as of yet, but from the bit I know I think he typically would match an octave below the lowest 4 strings of the guitar players. Typically lowered versions of drop-D: mostly (B-F#-B-E), occasionally (A-E-A-D), except on MFKR where it was (C-G-C-F). There are three low-tuning examples I can think of off the top of my head, though: 1) Scissors - This one's the most obvious, especially leading into and during the 1st verse where it's just bass and drums. Considering the guitar players are in drop-A down 1-1/2 steps (F#-F#-B-E-G#-C#), I assume his 4th string is also down to F# (or maybe he goes even lower? I've never tried to play this song). 2) Killers Are Quiet (& Iowa) - I hate to be an arrogant prick, but I went through like every tab of KAQ and Iowa on Ultimate Guitar (at least 8 versions) and I don't think a single one was completely correct. Of course, I could be wrong, too. So it turned into a transcription listening session, lol. Sorry if you didn't feel like reading a bunch. I'm not even sure what the guitar players were tuned to, but Paul's lowest string is definitely lower than C. To make sense harmonically, I believe it's A, though it's pretty difficult to discern (probably production quality factors, it is a demo album). I decided to just tab it below and pray the formatting doesn't get screwed up. Basically, I hear a C as the open 2nd string in riff 1, but the open 4th string is hard to tell (but my guess based on the tonality was A or craaazzy low D). But in riff 2 (starts ~1:23) it sounds like all the notes are different octaves of A. So I think his tuning was probably (A-G-C-F); basically the album's tuning with the 4th string lowered an extra 1-1/2 steps. Listening closer to Iowa (which has nearly the same-sounding riffs, but is 1-1/2 steps lower than Killers Are Quiet), he definitely has a low F# (same as Scissors). Riff 2 is played more aggressively and the production is a lot clearer, so I feel confident it's F#. This also boosts my confidence about the tuning of both songs, because taking (A-G-C-F) down 1-1/2 steps gives you a low F# (F#-E-A-D). (Riff 1) F --16---------------------------------| C --------0H14----------------------| G ----------------------------14-------| A -------------------0------------------| (Riff 2) F ---------------------------------------| C ---------------------------------------| G --14---------------------------------| A ---------------0-------12-----------| (Riff 2 - "Iowa" version) D --------------------------------------| A --------------------------------------| E -/14----14-----------------------| F# ---------------0------0------0----| (The 14th fret notes in riff 2 might be played on 2nd string fret 9, idk, I've never seen video of it) A fake-out one for me was Purity. The verse goes between a B for 6 beats and then an A# for 2 beats. When I was trying to learn that one as a 14/15 year-old, I knew the live/main tuning was with a low B, but it kinda sounded to me like the studio version went down to the low A# in the verse riff. Live he seemed to do an A# power chord rooted at either 3rd string fret 4, or 4th string fret 11 (depending however he felt in the moment, I imagine). But it's obviously possible to record little things that you can't/won't replicate live for the studio version of songs, so it wasn't an insane notion that they'd tune different to record the verse. But I just re-listened really closely to the studio version and I think it is actually the same power chord part heard live. Were there any others I missed?
Hey, thanks for watching! Most of what I can say I'm gonna copy over from an answer I gave someone on a different version of this video: The bass does have active electronics, but I don't think I fiddled much there, but I could be wrong since it's been a few years. I probably had it panned pretty evenly between the pickups; maybe slightly towards the neck since I was using a pick. Speaking of which, if you want tone that easily cuts in the low register and resembles the style of the original, I'd strongly suggest using a pick. But I guess you could also use fingers closer to the bridge and/or with a brighter EQ. As for amps, I was really lazy and plugged straight into the recording interface and just used and amp modeler in Logic Express. The amp model I used was called "American Scoop," and a brief description can be found here: [American Scoop: Based on the American Basic amp, but combines the frequency characteristics of the American Deep and American Bright, with both low-mid (from 500 Hz) and upper-mid (from 4.5 kHz) frequencies emphasized. Well-suited for funk and fusion recordings.] documentation.apple.com/en/logicexpress/effects/index.html#chapter=1%26section=2%26tasks=true It's somewhat of a pushed (very light overdrive) sound at low to medium gain settings. My settings were pretty neutral, but just FYI they were: gain 4.1; bass 5.7; mid 5.8; mid freq. 3(800Hz); treble 5.0. It gets into a mild overdrive at hight gain settings (8+) - I imagine it was modeled off an older tube amp, but I only have personal experience with a couple of solid state amps on bass, so idk really. If you have a drive knob or a pedal or something to add a little grit, it wouldn't be a bad idea. The best thing I can say for EQ'ing, is if you have one with a lot of bands, try boosting/not cutting some mid-range bands and cutting others (perhaps start by trying a boost of ~500Hz and ~4.5 kHz, like they listed). If its just a 3-band, don't automatically cut out all of your mids just because mid-scooping is "metal". I think a decent amount of the growl and punch is in the mids somewhere.
Dude nice job for some reason this cover was satisfying
The tone tho
Speeding to 1,25 it's basically sic but i prefer mfkr experimental touch on the bass makes us really feel Paul's mastery over his instrument
Thanks a whole lot, this was great!
Dude, seriously cool
fucking sick
nice tone.
chingon me encanta este bajeo ,
awesome man sounds killer on its own what bass is that looks a bit like a sandberg
I think the headstock says Carvin from what I can see.
+tomtik101 ahh ok i can see the kinda carvin shape now thanks !!!
Wow, I am TERRIBLE at keeping up with comments, haha! Sorry, man; but yeah, tomtik is right, it's a Carvin LB70P (but with the Icon's headstock, because I thought it'd look cooler).
I have noticed a lot of lower sounds on the bass on some of the tracks on Mfkr and self titled, did Paul tune is bass down a little bit?
Ah, yeah, I agree. I haven't tried to transcribe or learn too many of Paul's parts as of yet, but from the bit I know I think he typically would match an octave below the lowest 4 strings of the guitar players. Typically lowered versions of drop-D: mostly (B-F#-B-E), occasionally (A-E-A-D), except on MFKR where it was (C-G-C-F). There are three low-tuning examples I can think of off the top of my head, though:
1) Scissors - This one's the most obvious, especially leading into and during the 1st verse where it's just bass and drums. Considering the guitar players are in drop-A down 1-1/2 steps (F#-F#-B-E-G#-C#), I assume his 4th string is also down to F# (or maybe he goes even lower? I've never tried to play this song).
2) Killers Are Quiet (& Iowa) - I hate to be an arrogant prick, but I went through like every tab of KAQ and Iowa on Ultimate Guitar (at least 8 versions) and I don't think a single one was completely correct. Of course, I could be wrong, too. So it turned into a transcription listening session, lol. Sorry if you didn't feel like reading a bunch.
I'm not even sure what the guitar players were tuned to, but Paul's lowest string is definitely lower than C. To make sense harmonically, I believe it's A, though it's pretty difficult to discern (probably production quality factors, it is a demo album). I decided to just tab it below and pray the formatting doesn't get screwed up. Basically, I hear a C as the open 2nd string in riff 1, but the open 4th string is hard to tell (but my guess based on the tonality was A or craaazzy low D). But in riff 2 (starts ~1:23) it sounds like all the notes are different octaves of A. So I think his tuning was probably (A-G-C-F); basically the album's tuning with the 4th string lowered an extra 1-1/2 steps.
Listening closer to Iowa (which has nearly the same-sounding riffs, but is 1-1/2 steps lower than Killers Are Quiet), he definitely has a low F# (same as Scissors). Riff 2 is played more aggressively and the production is a lot clearer, so I feel confident it's F#. This also boosts my confidence about the tuning of both songs, because taking (A-G-C-F) down 1-1/2 steps gives you a low F# (F#-E-A-D).
(Riff 1)
F --16---------------------------------|
C --------0H14----------------------|
G ----------------------------14-------|
A -------------------0------------------|
(Riff 2)
F ---------------------------------------|
C ---------------------------------------|
G --14---------------------------------|
A ---------------0-------12-----------|
(Riff 2 - "Iowa" version)
D --------------------------------------|
A --------------------------------------|
E -/14----14-----------------------|
F# ---------------0------0------0----|
(The 14th fret notes in riff 2 might be played on 2nd string fret 9, idk, I've never seen video of it)
A fake-out one for me was Purity. The verse goes between a B for 6 beats and then an A# for 2 beats. When I was trying to learn that one as a 14/15 year-old, I knew the live/main tuning was with a low B, but it kinda sounded to me like the studio version went down to the low A# in the verse riff. Live he seemed to do an A# power chord rooted at either 3rd string fret 4, or 4th string fret 11 (depending however he felt in the moment, I imagine). But it's obviously possible to record little things that you can't/won't replicate live for the studio version of songs, so it wasn't an insane notion that they'd tune different to record the verse. But I just re-listened really closely to the studio version and I think it is actually the same power chord part heard live.
Were there any others I missed?
@@UnbelievableRANTLERS Would you happen to know the tunings for Slipknot on MFKR aka sic
@@jamsession4247 As far as I know, the entire MFKR album aside from Killers Are Quiet is drop-D down a step (C-G-C-F)
Hi mate! Could you please tell me the amp settings and the EQ settings on the bass itself if U still remember it
Hey, thanks for watching! Most of what I can say I'm gonna copy over from an answer I gave someone on a different version of this video:
The bass does have active electronics, but I don't think I fiddled much there, but I could be wrong since it's been a few years. I probably had it panned pretty evenly between the pickups; maybe slightly towards the neck since I was using a pick. Speaking of which, if you want tone that easily cuts in the low register and resembles the style of the original, I'd strongly suggest using a pick. But I guess you could also use fingers closer to the bridge and/or with a brighter EQ.
As for amps, I was really lazy and plugged straight into the recording interface and just used and amp modeler in Logic Express. The amp model I used was called "American Scoop," and a brief description can be found here:
[American Scoop: Based on the American Basic amp, but combines the frequency characteristics of the American Deep and American Bright, with both low-mid (from 500 Hz) and upper-mid (from 4.5 kHz) frequencies emphasized. Well-suited for funk and fusion recordings.]
documentation.apple.com/en/logicexpress/effects/index.html#chapter=1%26section=2%26tasks=true
It's somewhat of a pushed (very light overdrive) sound at low to medium gain settings. My settings were pretty neutral, but just FYI they were: gain 4.1; bass 5.7; mid 5.8; mid freq. 3(800Hz); treble 5.0. It gets into a mild overdrive at hight gain settings (8+) - I imagine it was modeled off an older tube amp, but I only have personal experience with a couple of solid state amps on bass, so idk really. If you have a drive knob or a pedal or something to add a little grit, it wouldn't be a bad idea.
The best thing I can say for EQ'ing, is if you have one with a lot of bands, try boosting/not cutting some mid-range bands and cutting others (perhaps start by trying a boost of ~500Hz and ~4.5 kHz, like they listed). If its just a 3-band, don't automatically cut out all of your mids just because mid-scooping is "metal". I think a decent amount of the growl and punch is in the mids somewhere.