doc taz Posted October 30, 2003 Share Posted October 30, 2003 Originally posted by getz76: I don't disagree, but the term "molten distortion" tends to suggest that scooped-mid-death-metal style distortion. Even a good unit, like the SWR Interstellar Overdrive (combines clean and hi-gain signals, I believe), cannot provide the impossible.That's why I use my metal zone when I want that. I don't scoop out too much of the mids, though. You might as well play with a bulldozer if you take 'em all off. I used to like scooping the mids all the way off, but that sounds weak to me. Better to leave some on for note definition IMHO. I'll definitely consider the Bass Overdrive, as it does the clean/distortion thing without having to split signals to two different rigs, which means less headaches for live shows (and possibly recording). sevenstring.org profile my flickr page Link to comment Share on other sites More sharing options...
dcr Posted October 30, 2003 Share Posted October 30, 2003 "Distortion sucked my low end out!" Thread title or Roger Corman film? You decide! Link to comment Share on other sites More sharing options...
bassplayer5217 Posted October 30, 2003 Share Posted October 30, 2003 just a crazy idea i thought of: try the same pedal / effect but use swr's sublevel effect (found on the black beauty combo, I know) as well. This effect actually tries to amplify the sound one octave below what you are actually playing, and doesn't do too crappy of a job at it. There is some distortion, but with the intent here, there should be no problem. The high end of ur efect and the lowness of this one shuold solve your problem. Either that or hurt your ears, but I can say i wanna try it out. peaceOUT, Germain .~. Link to comment Share on other sites More sharing options...
g. Posted October 30, 2003 Share Posted October 30, 2003 Actually I use the metalzone virtual pedal model in the V-Bass for a fair amount of stuff. And I did heavy (total) scooped mids before, with my Peavey TranstubeFEX. When I wanted girth AND definition AND full-out screaming runaway shred I layered. I used footcontrol, knobs on instrument, and various pressures of muting to further work with the voicing and blending. Which was the whole point of that post mentioning layering, splitting to multiple acutal or virtual rigs, using a crossover, etc. It helps if you use really extended-response strings in not-too heavy gauges (brighter, more like guitar), and rigs that don't roll off thgeir trebles well before they get up to where a guitar cab typically has a huge upper peak - often around 6-7K (for bass this can be lower and still work). One of the better incredibly cheap for the sound foot-switchable guitar amp lines I've seen for high-gain scoop thrashy distortion is the Peavey Transtube series, which have the right gain structure, and button-activated voicings to get a lot of varieties of metal and beyond. These are all over eBay. If you noticed how easily guitarists with distorted combos can mask the bass player, you will realize that you don't need that much wattage or speaker to run a guitar amp for distortion on the side or top of your bass rig to truly shred. Just set the tone icepicky if you don't think it's cutting through enough ; } If you like hauling extra gear, get a couple of inefficient Marshall-type 412 cabs as well ; } - these do have certain characteristics, obviously. Besides the weight, I mean. But I've found that a single 12 with 60 watts could keep up with a big bass rig without problem in many clubs. . Link to comment Share on other sites More sharing options...
BenLoy Posted October 31, 2003 Share Posted October 31, 2003 I like the overdrive I get out of my RBI when I run it through the effects loop of my Demeter VTBP-201S. I can blend in plenty of bottom from the dry signal, but the dirty sound has plenty of bottom as well. I don't really go for a huge, fuzzed out sound though. I like some edge, but I mostly use overdrive for the sustain. Link to comment Share on other sites More sharing options...
bassarama19 Posted October 31, 2003 Share Posted October 31, 2003 If your talking about distorted bass tones, the man to talk about is cliff burton. He had such an awesome distorted bass tone, it sounded like a guitar but not. I believe he used an old big muff guitar distortion pedal through a mesa head (cant remember the model) and a marshall 412 and 115 THE ace of bass Link to comment Share on other sites More sharing options...
g. Posted October 31, 2003 Share Posted October 31, 2003 Yeah, benLoy, I go to the guitar extremes at times, but I don't live there. I like to hear all the varieties, from clean but tubed, to growly sustain, to grit and glass fangs, to solid state octaved fuzz, to grunge, thrash, and shredded. I have this one White Zombie/Sepalacura sound right next to a Acoustic 360 that footsweeps from just barely breaking up when pounded to seriously beating speakers out of their holes when footmax'd. And in three-piece cover-bands it isn't that hard to use many variations in the course of a night, for parts of songs. Actually it isn't in original material either. Even with a ring modulator ; } . Link to comment Share on other sites More sharing options...
g. Posted October 31, 2003 Share Posted October 31, 2003 Yeah, Cliff's ANASTHESIA on KILL 'EM ALL rules for that type of thing, though it is a tad shy of phat, for those who are looking for bootay with their brashness. I'd have to listen again, but I think I'm hearing some wha-what pedal being used as a parametric mid control somewhere in there too, with the fuzzbox. . Link to comment Share on other sites More sharing options...
g. Posted October 31, 2003 Share Posted October 31, 2003 One example of an overdrive/distortion more traditonal bass tonality the BP-8 or V-Bass do quite easily can be found on Niacin's BLOOD, SWEAT AND BEERS, which to me is perhaps the best example of Billy Sheehan to be found (all instrumental for one thing, and no big hair guitarists for another), with some nice B3 work from John Novello, and tubs by Dennis Chambers. It's easy to have more true low end too, since Sheehan is using lots of low-mids as is traditional for Ampeg SVT-influenced players who came up with sealed 810 cabs and even 215s. . Link to comment Share on other sites More sharing options...
Basshappi Posted October 31, 2003 Share Posted October 31, 2003 Niacin! Sheehan has some great sounds on his solo CD 'Compression" as well. However, some of my favorite distort-o sounds are by Doug Pinnick. He uses all different types of distortion. He sounds even more huge live! Nothing is as it seems but everything is exactly what it is - B. Banzai Life is what happens while you are busy playing in bands. Link to comment Share on other sites More sharing options...
g. Posted October 31, 2003 Share Posted October 31, 2003 Oddly enough, last time I checked out King's X, he was downtuning on some pre-tty narrow gauges, playing them much floppier than i could satnd to do for my playing style and action adjustments, and I keep 'em pretty light. Michael Manring also seemed to be pretty comfortable with narrow gauges tuned at times to low tensions. I have to hand it to these guys: they found their OWN way to do what they want to do, and both recognize the advantages of narrow gauges to get more easy response and treble extension, preferring to let the rig do much of the thump and fullness. . Link to comment Share on other sites More sharing options...
TwoFingerz Posted October 31, 2003 Author Share Posted October 31, 2003 Well just wanted to say thanks to everyone... I'll give lots of those a try, well at least as many as I can... "I lost my stereo... but it doesn't really matter, 'cause I can play this anyway" Link to comment Share on other sites More sharing options...
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