Amps: SVT-CL, Fender & Sans Amp


Advanced Bass Production


Lesson Info

Amps: SVT-CL, Fender & Sans Amp

So basically, this had I've used a million times it's always something that it's just the most standard approach for a record like you're not goingto I don't want to call it not exciting, because that tends insulting to a very great piece of equipment, but you're going to be straight down the middle. You're not taking many risks when you pull out the sbt classic. Um, it's controls are very basic, it's it's easy to use it's hard to make sound bad, but my issue with is generally there's, not a ton of gain it's really fat, but even when I crank up pregame that's about as gritty, is it's getting yet, which is cool for the kind of pop rock a song that we were running with, and what I'll do is I'm going to hook up a re inbox and kind of place stuff in context with the songs so that we can listen to it and feel it out, but I want to go through all my tonal options first, but the best way that I found with an sbt classic to get more aggressive stuff is put junk in front of it, so I'm going to ...

plug in a sand samp, which is kind of the also pretty basic drive pedal for bass guitar, but I'm a big fan and it will start to dirty it up. And then maybe we'll hook a rant box and listen through them or pop rocky mix and kind of see if we can't get a sound that we think fits in there if that will say pretty much everything is just straight up and down dr based trouble presence pretty straightforward sound and we'll tweet that to get we're going for more rock upfront sounding rock based tone right now that's just ahead a lot more aggressive it kind of fuzz that our top end a little bit which is a matter of taste what do you guys think like if you were working on a record what would you want based to sound like forthing more pop um me personally I generally don't pic I'm finger where play yeah so generally I kind of go for a warmer tone I'll call it um you know in our style of music it's you know it's it's kind of classic rock inspired but you want to be very says you want to come play this what we kind of just twickenham five I can give it a show doing all right thank you very much it's so definitely you were heavy in the bottom right now so I want to pull up some presence and top end I just feel with that like your finger picking we just boosted presence and we've got a lot more attack which obviously I did my thing where finger picking is not usually my forte as faras like heavy editing is my forte but you're pretty good at picking stuff up by year if I pull you real simple baseline you think you can uh ok let's I'm gonna have a rob playing along with that pops on is that cool? Is that a good way to go about this that's it's really easy so you'll be able it's the one I was editing earlier so it's part of the song no idea I'll play also of the base for you first you don't have to really play that bomb transition but I just want to get you like really want me to figure it out and show you real fast let's I wonder if I can remember I think you're doing awesome so what's try that one more time ee uh huh and then ends on ah sharp I guess d sharp you're right the sharp so try one more time and I think like this is a tone that I would really kind of think fit into this so that's I don't know if every obviously people don't have to agree with me but that's like I felt like that kind of tone versus r d I were listening to earlier I'll grab that for me just for this on standby kind of starts doing what I was talking about delivering the guitar tone because instead of just being a separate element of the mix, it started blending the base and the guitar and the drums and everything starts coming together as a son, you can sit down for now gonna change songs, and I don't know how the other ones go yet. Um, so that's basically that's, where I would use an sbt classic and you can get grittier stuff out of it. But it's, just to me, the downfall of the spd question it is a very heavy head to pick up and move around, and the tonal options are limited. They're great for what they are, but I like to use other stuff. Um, I don't know if I have slide. Yeah, can I actually pull this up for a second just to go through the other stuff? I'm going to talk about just to catch up first, we're doing the espy to classic um and now when I kind of go into the fender head, which I use in a very unique way, and we're going to go to that more heavy song, what I'm going to do this time instead of having anybody plays, I'm going to run out using the re inbox, which I went through a little bit. But I think it's the easiest way so that we can kind of quickly swapped through amps and we're going to use it once we start making stuff. But for people not familiar with watery inboxes is you take your d I signal and you can send it back out toe amps and that's going to really let us, like start experimenting quickly instead of having to re record everything. We're just going to take the d I take from this song running through in person get excited, so you just have to do my dumb squint thing a missing my track placed the eye so that's patched in it comes out of I have it just coming out of channel five you can really that's a good question not that I didn't mention you can plug it wherever you want output one into were generally dedicated for speakers and the way I run things that usually keep three and four open in case you like a drummer wants different stuff in his mix, so I end up with five is always my dedicated rehab channel. Hopefully we won't have any problems with this right now, so that shows us right there. Can I still talking this aching? Hear me, right? So now I'm just turning the output up so that it's, as if the person was playing a little bit harder this's just a good way to kind of start taking what tone do you think would sound good for what you're going for so obviously if I walk over here and I turned the sands and off way just lost a lot of the guts of the m and I'll crank the drive up and we'll get kind of more blend with the guitar tone but to me for a mix like this that's still not enough guts like it's got something but it doesn't have everything so I'm going to change a rigged to what I personally consider it to be like my favorite heavy rig which is fender amps um save that so this the routing on this ends up getting a little weird because we have a fender tb twelve hundred head and I it has a pretty upon it which is a to primp and it sounds good but it doesn't offer the grit that I like when I'm using fender amps so I use a tech twenty one sans amp rack mount which is a lot like that pedal but better and I go through the effects loop so anybody at home that it's halfway familiar with hampshire known effects loop generally is returning you without the pretty upsetting so that you just have the power from the andthe and in this case that's all I want this will work still shouldn't be out here is my problem you sure this is going you know, I have signal just don't know if this is coming through the right way that's my problem and implode the speaker, cable and it's you know, it is important still figuring this out, breaking the fourth wall, right? We don't have a noise gate we covered this yesterday, but I forgot the noise gate at home, so that is ah, not our friend right now, so we'll play this back a little quieter. It just doesn't have the balls, so I'm going to stand over there and turn it down when it's not playing the bass, but this obviously with much less noise or manually gated, you're in the box, getting real fast to me this and provides just a tone with a lot of guts and I guess that's all I really have to say about it, I it's just powerful and it's dirty and it's discussing and it is my favorite amp for any sort of heavy music was the threshold on this gate it's doing nothing, so forget about it. Yeah, I guess I will just play this and I'll run over and stop it when it's not touch more on when we're actually ramping into the track, but to me that's more of an aggressive base tone that I really liked getting it's kind of segways into aa problem go for it I was just going to ask you, said that's, your favorite set up to get for anything like super heavier having stuff pretty if you're making, you know, ten records over the next year, yeah, you don't want all your base that should you just take that is like a it's no planet in my base, it's my jumping off point and I complemented with other stuff, but I would say at least fifty percent of the time, I'm using a layer of that that is just like that's it's kind of that's, my building point and it's like that's, the bass guitar of my bass guitar mix as faras like I start, I pull in a d I around that which will cover more tomorrow mixing stuff, and then I'll even put more dirty layers on top of that, and sometimes I'll roll off some of the gain in distortion, but for a heavy record, if I if it was like andrew year going to use one track that would be damp, that I'm using, I might have at home or my cabs are a little bit different. I use a another version of offender eight ten, which is there more beefy model, the basement and I it's kind of it's one of those things where sometimes you find something and it's like that's with any instrument like this is it's like your favorite shirt that amp is my favorite shirt and I will put it on at least try it out on every single heavy record that I d'oh and then same the sbt classic is like my favorite shirt with pop records I'll pull that out a lot but there's something about just the grossness of that and that mesmerized me from the first time that I like set it up and I've been using pretty much the same amp for about seven years I mean for whatever it's worth pretty much everybody also know uses the sands am for heavy music to you just kind of the go to the fifty one fifty of bases it really is and it's like a lot of people use it in front of a head on one of the few people I know that I liked they all I want to power and because I just think it's like I like we're talking the more layers of stuff you have you're adding color and you're smoothing stuff out and I don't want to smooth that out so if I ran that sands amp into the front of that head the q and the tubes and it would start to kind of they want it complemented it is much they would impact their own sound and it won india's growth, and I would be disappointed. So that's that's? Why? I know not every record is going to have the same thing, but I'm goingto that's going to be my starting point, almost heavy records, and I'll be it with a noise gate so that we're not having feedback and running back and forth question came up a couple times in the chat room was what do you think about? Have you ever used the amplitude version of the s v t? Yes, it's not the same it's ah, it sounds good, I would use it on a demo. I think I don't know if I touched based on this, I think I did. I've never gotten to a point where I was happy with a base tone that was plug in based, and that may be, I think, a lot of it's ego because I know people that come up with good stuff. Well, so I guess the way I would put it, it's, like, I think everybody can agree that simms or not as good as the real thing, correct? Let's say your kid at home or you're somebody like me that lives in apartment can't make a ton of noise would that be a good solution? Sort of, I would say for the price you pay for amplitude the s v x I think they call the mpeg one. I would buy a raft mt stands in for one hundred dollars, and then I would use a built in every dog, has its own and pull it like aunt modeling software. And I would just put a cab simulation after this and that's something that I have used countless times when I'm not looking to make a cab. And I know you talked that. Ah, andrew wade was here saying he uses a lot of impulses on guitars and on base and that's something that's the way to do it as faras ifyou're looking budget friendly. I would always go with this, okay, the cool thing. I didn't really dive into it because I didn't need to. But this has a d I out, too, so you can have a clean and a distorted run that to a cab and have a very good blend, which is to me. You spend one hundred dollars more, but you're working with really gear, and I think that is says a lot.

Class Description

Everyone knows that bass guitar is the foundation of a great modern rock mix. It’s the unsung hero that holds the entire track together. Join Winds of Plague bassist and Soundtemple Studios founder Andrew Glover for a course dedicated to providing you with everything you need to know to record, edit and mix great modern bass tones.

Drawing on his 10+ years in the music industry, Andrew will guide you through tracking and getting tones using real amps and amp simulators. Plus, you’ll learn the secrets of editing and mixing bass that will take your tones from good to great including tone layering, eq/compression, and much more.