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What's your effect, or your favorite effect


musicfiend

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I know that we have had similar discussions in the past, but I assure you that this thread is unique.

 

That being said, I pose a question to my fellow bassplayers or intrumentalists.

Do you have an effect or a sound that you try to capture in many different avenues and styles?

I am not referring specifically to effects units, but to any signature that you have applied to your previous projects.

For example, there was a period wherein Pino Palladino's know effects was a singing fretless bass strung with rotosound roundwounds. Marcus Miller's effect would be the slap tone that he has created with his sadowsky modded 70's jazz bass. Dirk lance, formerly of incubus, seemed to use his 5 strings lower register as a signature in some tunes, combined with his already deep and subharmonic tone...at least to my ears. My effects seems to be my use of delay around some of my parts, to create seemingly new musical statements..specifically created with a memory man and sometimes reproduced naturally. I have also noticed that an effect i have comes from the phrase a riff or a line. I tend to embellish parts meant to double another instrument so that a new line is created.

Anybody willing to share, and analyze your own playing style?

Hiram Bullock thinks I like the band volume too soft (but he plays guitar). Joe Sample thinks I like it way too loud (but he plays piano). -Marcus Miller
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In general I don't like the sound of effects on bass. Most of my playing is reinforcing the piano's left hand. If I could snap my fingers and have someone's tone I would sound like Kenny Gradney or B.B. Dickerson.

 

 

www.ethertonswitch.com

 

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Line6 Bass PODxt. I don't like a lot of heavy effects, but the amp/cabinet-modeling in the POD is really good/subtle, allowing me to get a variety of great sounds - all at the push of a button (or twist of a dial). While it has other "goodies", I use primarily the following in my PODxt presets:

* Amp modeling (I use this for GENTLE distortion - I don't like the heavy distortion stomp-box sound)

* Cabinet modeling

* EQ

* Compression

* Chorus (infrequently)

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Compression and overdrive, with a thick juicy bottom. EBS Multicomp -> SansAmp BDDI. Grrr Baby.

 

I like using distortion, but hate losing the ar$e end of my tone. So I end up overdriving my already overdriven tone with a blended distortion pedal, and then dig in hard with the right hand when I want to push it hard.

 

I wish I lived in NY/NJ so I could borrow a Wooly Mammoth from somebody and see if it will go where the sound in my head is pushing me.

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Most of my "effects" come from my right hand. Like Jeremy, I like to have a clear and defined sound. I listen to what goes on around me and react to that. I change my hand position throughout a song to achieve a variation in tone when has a "dialogue" with the other instruments or vocalist. I use three fingers plus my thumb, palm mute, nails, flails and rolls (with either flesh or nail), strums, ghost note pats, pinched harmonics, rhythmic mutes, scrapes, string rubs.... and, of course, three and four note chords (used with discretion).

 

I also tend to find interesting notes choices and interesting parts (not always roots), aand acutely aware of where on the beat I am playing (and where everyone else is) and frequently move around from playing on top of it to slightly (or more) behind it. I leave space. I use three different types of (manual) vibrato. And I listen.

 

Max

...it's not the arrow, it's the Indian.
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I am looking forward to play an annual fourth of july show where we've been opening up for a band of seasoned musicians.

The bass player has a certain was of using the dynamics in his right and left hands. He keeps the gain way up, as well as the volume and some tone controls. When he plays lightly, as on most songs, he gets a very deep fundamental tone with a lot of harmoncis generated by the high gain. However, when he digs in...well, think about the tone on dance to the music by sly and the family stone....it's there dead on.

 

And jeremy, I could really hear what you mean on some of your jazz on the vine recordings. It seemed to be a very clear and punchy j bass type tone. Was it recorded on your 71 jazz with the involvement of bright strings.

Hiram Bullock thinks I like the band volume too soft (but he plays guitar). Joe Sample thinks I like it way too loud (but he plays piano). -Marcus Miller
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My latest fave is this programmed setting on the Line6 Bass POD (vers. 1.0) that combines an Eden WT300 head/Eden 4x10 cabinet with an analog chorus and some compression. When I play fretless bass it becomes orchestral in nature, with a capital "MWAH"!

 

The Eden patches are well done because I've played the same rig in two rehearsal studios near me and I can just about duplicate the sound with my old Boss chorus and compression pedals. The real thing, of course, has the edge, but I'm impressed with how well the Line6 people did their research.

 

A close second would be the SansAmp BDDI when it's EQed to sound like an old Bassman or an SVT. Through the board, it'd kick Cartman's ass!

:thu:

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I used to think it was my primary use of a fretless bass, even in rock settings; loved to get a sound similar to Pino on David Gilmour's "Murder", with a reverse gate and chorus. But even on fretless, and now moreso back on fretted, is an Entwhistley attack, very heavy right hand. And the unexpected appearance of the wah!

"Am I enough of a freak to be worth paying to see?"- Separated Out (Marillion)

NEW band Old band

 

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I guess my signature would be to fit in notes where they shouldn't go, play continuously leaving no spaces, playing as loud as I can and not listening. Oops, sorry I meant the g*******t.

 

Davo

 

But seriously, I guess it would be funky, lots of off beat sync and increasingly finding the pocket with the drummer.

"We will make you bob your head whether you want to or not". - David Sisk
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Originally posted by jeremy c:

My favorite effect is my Digilog Dynamicator .

Your secret to great tone, eh :D

Let, other people use their hands..what do you care you've got the funkldigilog dynamicator :freak:

Hiram Bullock thinks I like the band volume too soft (but he plays guitar). Joe Sample thinks I like it way too loud (but he plays piano). -Marcus Miller
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Lately I use a fullrange compression, a smidge of chorus and just a dash of reverb. The rest is up to my fingers.

I love dynamics - and the growl my Peavey gets when I start digging hard is really something to hear.

"He is to music what Stevie Wonder is to photography." getz76

 

I have nothing nice to say so . . .

 

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Originally posted by NUTT:

Grrr Baby.

...the sound in my head is pushing me.

Why is this not in a sig yet? :D
Hiram Bullock thinks I like the band volume too soft (but he plays guitar). Joe Sample thinks I like it way too loud (but he plays piano). -Marcus Miller
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Originally posted by jeremy c:

My favorite effect is my Digilog Dynamicator .

AHAHAHAHAHAHAHAHAHA

 

Oh my God, I was rolling on the floor. Tuberators! "Biggen" to "Squishen". That's fantastic stuff.

 

When it comes to my playing in the school's jazz band, I wish I could get a James Jamerson sound. When it comes to my band, and rock music in general, I just go for my own thing. In terms of actual effects a very broad chorus usually fills out my sound beautifully.

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I tend to rely on alot of chords in my playing because I work within a lot of trios and with a sax player as a duo. But that's always been a major part of my style. I also use alot of two hand techniques when necessary: left hand basslines/right hand chords or two hand tapping like a piano. This isn't for showing off but for the benefit of the music.
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Originally posted by The Very Rvd. Joe Grundy:

I generally don't like effects but I've recently been turned on to using a subtle phaser. Seems to create a really decent 'modern' bass sound.

You stole my sound! :cry: But I generally only phase on solo passages.

 

I also go for variety of techniques to fit different songs, a la Max Valentino, although I don't have quite as many tricks in my bag. Fingerpicking on the neck and natural vibrato are probably my favs. (And here I thought I was being original in scratching my strings!) :(

 

I usually finger/thumbpick quickly through chords instead of strumming them, and add a bit of chorus.

 

Probably my "signature sound", though, is just to play up front a little more, a la Geddy Lee, at least for rock. Jazz is different for me, and I'm content to just walk for the most part because that's still an independent voice. For acoustic/orchestral type stuff I try to add more harmonically instead of rhythmically, i.e., on a I to V transition I'll favor root (of I) to 3rd (of V) to make an "interesting" chromatic shift. (And if it's my own composition I'll always have the bass play the melody at some point.)

 

Yes, I'm vain, I'll do just about anything (tasteful) to get the audience to notice what I'm playing! :D

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I try to get a thick but punchy sound with just enough overdrive to make it growl and sound aggresive. I like a lot of low mids with some treble bite, but I definately don't like it to sizzle or be very bright. Other than overdrive I do use other effects, but very sparingly. I also endeavor to maintain a solid pocketed groove and don't fancy myself as a soloist. I'm much more content with just laying it down than showing off.

 

The feed back I get from other bass players and sound people is very important to me, they have helped me to shape my sound and get it to where I like it while making it sound clear and punchy.

 

Now if I could just afford a Kern preamp and a '65 Jazz bass. The bass player in a band that came to my church a couple years ago had this set up and it was the sweetest tone I had ever heard!

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I have a couple of stompboxes.. But I tend to use them in a few specific parts of my bands songs.. The combination of my MXR Phase 90 and Rat II distortion seems to be the most extensively used nowadays :eek: Sounds weird but I assure that it's quite useful to cut through the guitars :D

Once you're lost in twillights blue you don't find your way the way finds you

My Band: http://www.vanityfair.dk

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Good ole' stella huh? Can't argue that. I gotte guess that the stella running at about noon would be plenty wwarm and tubey. What do you run that pre through?
Hiram Bullock thinks I like the band volume too soft (but he plays guitar). Joe Sample thinks I like it way too loud (but he plays piano). -Marcus Miller
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