The downside to such a “power-pluck” sound in itself is that it's pretty transient-heavy without a whole lot of tone, and without “enduring strength”. But when the strings rattle on the fretboard, this surpresses inharmonicity in a way similar to how a violin bow does.) With a clean amp, this merely adds a particular character which isn't necessarily bad, but if you later distort it, in particular on soft amp distortion, then the string's harmonics aren't quite in line with the artificial harmonics from distortion. ![]() (It also helps with a particular problem: inharmonicity, which is by nature strong in thick bass strings. That also gives some serious treble content, which will otherwise get rather lost in the flood of low-midrange from the overdrive. relatively bright strings and powerful playing, so the strings rattle a bit on the fretboard. IMO, for a real good growl, you need quite a powerful midrange even in the clean bass signal. If you play a dull jazz bass with flatwound strings through a fully-blown Ampeg head, the result won't be so much growl as flatulence. When tubes go into saturation, they produce much “softer”, subtler clipping, and retain more of the dynamic content (while still compressing the peak range quite a lot – so you can simply get the the bass louder in the mix than possible without compression). ![]() Rather, the kind of distortion that you hear on old, loud records such as fire comes usually from tube amps that weren't originally meant to sound much distorted at all, but were just taken to their limits. Fuzz and distortion pedals are characterised by sharp transistor clipping. ![]() Well, this is certainly a kind of distortion, but not the kind you get with a fuzz pedal.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |