Restringing and Intonation Continued


Advanced Bass Production


Lesson Info

Restringing and Intonation Continued

Wait e didn't really give this space is much love is the other one, but I should, because it's just very, very crispy, fat and that's. Why I like, I can't stop singing the praise of war works, they used the best wood of anybody, and you're as a guitar player frame. Miss, have you ever played a frame? This guitar? You always hear, so you probably have tio take out a bank loan before you go tryem out, because they're generally like three to ten thousand dollars guitars, but it just makes a gibson look like a honda civic kind of thing every time I order basic training with, you know, a record guitar players to write, he's never having it e t o sorry, I'm going to the standard, I don't know what you guys playing, but I always have to really think about other tunings as I'm watching it passed by, I'm halfway hoping I got this base into, and so I'm gonna pull it in my left, and I'm gonna play it and see if I hear anything bad and I'm halfway hoping I hear some bad stuff so I can go some flat...

mix up here already, so that just proved the gauge didn't change that much. I went from a one ten to one fifteen, and I'm already having intonation issues, so and if you go you can still see that open showing up and dives at the end of the notes so we'll call that pretty dead center even though it's moving needs to be stretched out and then I hate here and we're going really freaking shots and and still little sharp did andrew way to cover acoustic guitar stuff at all or mostly election no no acoustic guitars at all you can't play breakdowns on acoustic so your point mmm mmm mmm mmm mmm as I know from your favorite jonah music breakdowns are the only part of the song you know guys like slam is anyone familiar with slam how can you describe slam for us man um like uh like with death metal like more death metal okay it's just like them sludgy parts of death metal and I don't get it I don't understand it but finn loves it he's a good friend of mine so I respect his decision to be into slammed tell us tell us what you're looking at in hearing ok so I feel like I could describe it for a second I forget so right now I'm just trying to get my basic tuning and figure out what I'm at so here my tunings what is it d be cf so I'm getting my opens in tune and as we can see like that's pretty close it's close enough to prove my point right now and then I'm getting this just getting my standard open tuning and I keep hitting the twelfth threat to check where I'm lining up so right now we'll call that pretty dead on and then I hate here and I go really sharp, so I know I need to adjust that I just wanted to make sure the guitar was in tune before I started messing around with shortening the scale or wife planning let's go I can see when I last intimated this I must have been really flat because I have it you guys can't really see what the bridge is pretty far and I've said it a million times but shorter sharper is always thie only way that I can remember how to effectively in today so that these war that's that on and we're still sharp so we need to lengthen it even in war and you just you just loosen the string to take the pressure off I was going to take the pressure makes I've done it when I'm in a hurry I was cranking taught like don't keep your string cranked will you adjust the, uh, intonation? But if I'm going on stage I'll never do it in the studio but there's some time this this is fretting raw wrong and I'll just dig in it's also strips cruz a lot easier that way because there's so much pressure on it I'm hoping we don't end up with a bigger problem right here because I'm getting pretty close to the end of my travel and that's something you might find two which is as much as I want to fight the fix it later is sometimes you'll have an instrument that you just can't get intimated correctly and obviously your option is to grab a different instrument but if you don't have that luxury well really cover that tomorrow with a little closer you can fix it with software it's just I would never want to rely on that but a lot of people you own one guitar you on one base or you're borrowing a base and you can't really you don't have the option to grab a different instrument all the time I'm not sure you guys the class will be more exciting and less of just the tedious stuff there will be a fun stuff today as well okay, we're we're closer I think I'm showing my point I don't want to intimidate all day on this and that was good so we're a lot closer now if you guys I don't know anyone the watching as it moves but we're staying a lot closer to center which is so before you were off you know your show but I was going twenty twenty five sharp on my open indy and now you're only now to two or three and I'll deal with two or three because obviously that's the same thing once you start picking like you're going to get that amount of variants regardless, um and now can I keep the trash on my desk for now and I'll clear when we take a break now we're going to get to d eyes, which is a lot more fun let's switch guitars to the standard gets are okay, so I brought two different dies with well, I brought one b I but I was creative live was gracious enough to provide me with another one that I didn't want to bring um brought up d I a passive direct box I don't know I'm sure you guys know what a direct box does just brings you up to mike level from an instrument to the radio jd I have radio makes the best simple gear in the world and it's ah the owners names peter, janice and he's treated me very, very well and it's weird like it's such a d I box is something that if you're decently good with tools you could probably build a d I box myself in two hours but radio just make stuff that it's like weapon grade I know that my radio gear is never going to fail me it's one of those things it's expensive, a radio d I box is two hundred dollars a guitar center brandy iowa it is thirty dollars and I've gone through fifty guitar center die boxes I've had this radio jd I since an old engineer listed at my house about five years ago I've dropped it down the stairs I've drop drums on it microphones it's never not worked um and that's the one I will start with for that because it's more of a dry sound there's not a lot of character to anything radio makes it's just good quality gear and they're cool coming they're starting to make a lot more recording oriented gear and it's no I know that they've got a lot of they've got a lot of boxes that all look pretty similar maybe we could get a tight shot of that one so that people at home can you know exactly what you're talking about they also make the j forty eight which is a fan of power direct box it's kind of the partner to this I like passive direct boxes so I use passive direct boxes adios passive just exclusively in the studio is that I know what you like in the studio I like them all the time mostly because of the hassle if I was running some active ones live they weren't radios so they were junk um so I won't say what brand they were they were samson's and they uh you have to remind your front of house guy it's like we need fan and power to this and we generally tour my band tours with the same couple front of house guys it's like ok, we'll call him ryan since his name is brian say hey ryan literally every night you forget to turn the fan on power on and it's just I like passive it's one less thing to worry about I know that and we switched to radios eventually but it's like I know he's not going to forget to turn it on and it's just I like pass himself I use bases I could go either way and guitars I could go either way but for electronics like that it's just easier it's peace of mind that it does indeed phantom power sent to it um we'll use this little segment to kind of show off this base too because we mentioned passive and active accused but we can kind of jam more on this we let toe have audience members just play and like feel out instruments or sure what I'm so it was like well I feel like people messing around firsthand with stuff other than myself is going to show just more than I can and I love to show off axes he says you guys can already hear like I was using the avalon before and we'll dive more into that but this is just a lot drier it's still coming in very hot but e just want speaker ladder so I've never used this piece of gear, son sounds good but it's very dry and that's what radio delivers is when you're using a just passive radio direct box that solid state it's you're getting the direct sounded the instrument there's no color or anything and that's cool especially when we start dealing with running into the rigs that's going to get us a sound because we're delivering what's coming from your hands through the instrument and then as I was talking with the active passive accuse you khun boost one more top west I just kind of dead end out little bottom austin you play bass you want to come is their chair something how can I facilitate him to just kind of play the that works I feel like it's more fun for me to watch you play and just yeah just dig around with some knobs and tell me we can all kind of talk about what we're hearing yeah play something play something easy for us to understand them quote and now grab the very bottom knob the one closest to the jack yeah the next one down it's a dual knob here yeah and just twist that and you'll just hear a ton of tonal differences crank it one way we're still fat and then turn it the other way all the way down wait just really thin out and when they're using on passive e q on your rig it's not gonna have that same kind of effect and it's that gives you a lot of control, especially the cool thing with that is you can use the passive d I box and you still have so much control on dh that's. Why I wood with that base. I would probably always use the passive die or most of the time because I don't want too many options and too much stuff fattening my tone up because I want to let the amp really still deliver what the amps going to dio so when the instrument to speak for itself without overpowering anything else. So you hear the difference we're talking about just cool. What kind of basically what? She's? Very cool. You have a lot of tone stuff or is it just tone volume knobs and that's? A cool it's? Definitely there. Different beasts, but I feel like this kind of shows this shows the dye on and what it can do and I'll plug in the avalon and we'll hear ah, whole new character to the base. We have any more questions d I related or anything like that? Let's, check him out. Um, there are quite a few. So, uh, faca torrey audio factory audio. Okay, wow, factory audio asked what about two d eyes like the ready box never used the ready by ready or red eye red eye, it's. Well, he spelled r e d d I. So is that a red eye? Oh, no, that is that's a tube via the avalon is a tube dying. We're going to probably wait until the next segment to start on that, but I'll definitely show, even in this session, I guess I'll start the next session with this, but I have, ah, to die. I used in this song that we're in right now, as well as a passive and I think, kind of show the differences, but like I was saying, with this base, I generally prefer a passive d I that's. Not, too, because there's only so much thickness I can take.

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.