More steps to become acquainted with your bass amp: improving your cables, balancing your levels, and backing off the EQ.
A few months ago, I began discussing the payoffs of bass-player amp knowledge by addressing the importance of matching your cabs to your amp’s rating. This month, we’ll take a look at a few more key elements in getting to know your bass amp and keeping it happy.
Ditch Those Cheesy Cables!
On two separate occasions, friends have complained to me of a faulty effects pedal. In one case, the pedal kept cutting out. In the other instance, the effects loop was putting out only a weak effected sound. In both cases, though, the problem was a cheesy cord. We spend tons of money on a decent instrument, a feature-packed amp, and some awesome sounding cabs—and then sometimes scrimp on the cables we need to connect everything together. Ditch those cheesy cables; spend a bit of extra money and buy some cables you can rely on. That doesn’t have to mean top-of-the-line, magically blessed boutique wires (although they are nice!), but just something with a brand name and decent strain relief at the ends.
While you’re at it, be sure you know your instrument cables from your speaker cables. Although many bass amps have gone to the ultra-dependable Speakon plug for speaker connections, many of us are still turning to cables with 1/4" plugs on both ends for speaker connections as well as for hooking up guitars and effects. The problem is, speaker cables and guitar cables do their specific jobs well, but are pretty crummy for the opposite use. There are two ways to tell which kind of cable you have. The first way just involves literacy: read the cable’s jacket for a label as either instrument or speaker cable. The second way is to look under the hood by unscrewing the plug’s cover. If you see two separate insulated wires side by side, it’s a speaker cable. If there’s one thin wire emerging from a braided shield, you’ve got an instrument cable.
A Tricky Balancing Act…
The key words here are gain staging: the way you balance the levels of all the settings on your bass amp. In the old-school days of tube bass amps, the plan was easy—max the master and then dial your channel gain for the best clean sound. Or, turn down the master and push the channel level to add some dirt to your sound. Guitarists playing through tube amps still do this. But for a solid-state bass amp, maxing out the master (which nearly every bass amp has) just adds hiss and noise to your sound. To set the level on most bass amps, start with the tone controls all set flat and the Master around noon. Next, bring up the input Gain. Usually somewhere between 10 o’clock and 1 o’clock works pretty well, and many amps have an LED that flashes when an input goes into clipping. On bass, input clipping is not a good thing, because it introduces ugly distortion at a point in the amp where you don’t want it. Generally, you bring up the input level until the clip light flashes on the loudest or lowest notes and then turn it down just a bit.
Once set for a particular bass, you’ll leave the channel input alone. That’s where the Master control comes into play—setting your actual volume. By using this approach to gain staging, you’ll get the cleanest, most solid bass sound. Internal and external effects can then add any grit or distortion you may want.
Moderate that EQ!
Your amp’s EQ controls are also part of gain staging. Sometimes you push up the Bass tone control to get more oomph, but then you lose clarity, so the Midrange gets turned up… and then the Treble, to bring back the edge. Essentially, you’ve just moved one gain stage of the amp, possibly adding noise, distortion and volume that you didn’t really want. When you’re having trouble cutting through the mix of the band, there’s a temptation to boost the Bass. In many rooms, though, that’s just a “mud” knob that sends everybody else to their Volume control without actually improving the definition of your notes. Instead, when you’re not able to hear yourself well enough, reach for a Midrange control. Although reading owner’s manuals is passé, it’s good to look up the center point of the midrange knob—ideally, you’ll want a control set around 500–800Hz.
A graphic EQ control can do the same thing, but avoid just spiking up one slider. Instead, find a slider in the 500–800 range and raise that as a center of a smooth curve up and down. What you’ve done is created a frown shape on your graphic EQ. Many players automatically go to the opposite, the smiley face EQ that scoops out the middle frequencies while boosting the boom-and-clank parts of your tonal range. For most settings, this produces a tone that sounds powerful on its own but disappears in the mix. When that happens, it’s back to the Master Volume for yet more volume, and then audio stew gets even uglier. In all, use EQ in moderation. Think of it like seasoning on a meal: use too much, or the wrong kind, and the end product is not very tasty.
So there you have it, some of the key aspects of really getting to know your bass amp. Give these ideas a try. And read your owner’s manual to learn the specs of the inputs, outputs, and controls. You’ll be surprised by how much you can improve your sound.
Dan Berkowitz
Dan is a professor by day and a bass player when the sun goes down. He plays both electric and upright bass in blues, jazz and pit settings.
Day 4 of Stompboxtober brings a chance to win a pedal from TWA: The Chemical-Z! Don’t miss out—enter now and return tomorrow for more!
TWA CHEMICAL-Z
Roy Z signature overdrive pedal designed by TubeScreamer creator Susumu Tamura. Inspired by Maxon OD808, OD808X, and APEX808 circuits, Chemical-Z features the "Magic" IC used in APEX808 for less compression & more even frequency response than a standard 808. Increased output level. Two footswitch-selectable clipping modes - normal & hot.
Fuchs Audio introduces the ODH Hybrid amp, featuring a True High Voltage all-tube preamp and Ice Power module for high-powered tones in a compact size. With D-Style overdrive, Spin reverb, and versatile controls, the ODH offers exceptional tone shaping and flexibility at an affordable price point.
Fuchs Audio has introduced their latest amp the ODH © Hybrid. Assembled in USA.
Featuring an ODS-style all-tube preamp, operating at True High Voltage into a fan-cooled Ice power module, the ODH brings high-powered clean and overdrive tones to an extremely compact size and a truly affordable price point.
Like the Fuchs ODS amps, the ODH clean preamp features 3-position brite switch, amid-boost switch, an EQ switch, high, mid and low controls. The clean preamp drives theoverdrive section in D-Style fashion. The OD channel has an input gain and outputmaster with an overdrive tone control. This ensures perfect tuning of both the clean andoverdrive channels. A unique tube limiter circuit controls the Ice Power module input.Any signal clipping is (intentionally) non-linear so it responds just like a real tube amp.
The ODH includes a two-way footswitch for channels and gain boost. A 30-second mute timer ensures the tubes are warmed up before the power amp goes live. The ODH features our lush and warm Spin reverb. A subsonic filter eliminates out-of-band low frequencies which would normally waste amplifier power, which assures tons of clean headroom. The amp also features Accent and Depth controls, allowing contouring of the high and low response of the power amp section, to match speakers, cabinets andenvironments. The ODH features a front panel fully buffered series effects loop and aline out jack, allowing for home recording or feeding a slave amp. A three-position muteswitch mutes the amp, the line out or mute neither.
Built on the same solid steel chassis platform as the Fuchs FB series bass amps, the amps feature a steel chassis and aluminum front and rear panels, Alpha potentiometers, ceramic tube sockets, high-grade circuit boards and Neutrik jacks. The ICE power amp is 150 watts into 8 ohms and 300 watts into 4 ohms, and nearly 500 watts into 2.65 ohms (4 and8 ohms in parallel) and operates on universal AC voltage, so it’s fully globallycompatible. The chassis is fan-cooled to ensure hours of cool operation under any circumstances. The all-tube preamp uses dual-selected 12AX7 tubes and a 6AL5 limiter tube.
MAP: $ 1,299
For more information, please visit fuchsaudiotechnology.com.
Jackson Guitars announces its first female signature artist model, the Pro Series Signature Diamond Rowe guitar.
“I‘m so excited about this new venture with the Jackson family. This is a historic collaboration - as I am the first female in the history of Jackson with a signature guitar and the first female African American signature Jackson artist. I feel so honored to have now joined such an elite group of players that are a part of this club. Many who have inspired me along this journey to get here. It’s truly humbling.” says Diamond.
Diamond Rowe is the co-founder and lead guitarist for the metal/hard rock band Tetrarch. Since co-founding the band in high school, Tetrarch has become one of the most talked about up-and-coming bands in the world - with several press outlets such as Metal Hammer, Kerrang, Revolver, Guitar World and many others boldly naming Diamond Rowe the world’s next guitar hero. Tetrarch has connected with many fans while performing on some of the world's biggest stages garnering spots alongside several of the heavy music world’s biggest names such as Guns N’ Roses, Slipknot, Lamb of God, Disturbed, Avenged Sevenfold, Sevendust, Rob Zombie, Trivium, and many many others. The Jackson Pro Series Signature Diamond Rowe DR12MG EVTN6 is based on Jackson’s single-cut Monarkh platform and is a premium guitar designed for progressive metal players seeking precision and accuracy.
Crafted in partnership with Diamond, this model boasts a 25.5 “ scale, Monarkh-styled nyatoh body draped with a gorgeous poplar burl top, three-piece nyatoh set-neck with graphite reinforcement, and 12˝ radius bound ebony fingerboard with 24 jumbo frets. The black chrome-covered active EMG® 81/85 humbucking bridge and neck pickups, three-way toggle switch, single volume control, and tone control provide a range of tonal options. The Evertune® bridge ensures excellent tuning stability, while the Dark Rose finish with a new custom 3+3 color-matched Jackson headstock and black hardware looks simply stunning.
To showcase the Pro Plus Signature Diamond Rowe DR12MG EVTN6, Diamond shares her journey as a guitarist, delving into the inspiration behind her unique design specifications and the influential artists who shaped her sound within a captivating demo video. This video prominently features powerful performances of Tetrarch’s latest release, “Live Not Fantasize,” and “I’m Not Right” showcasing the DR12MG EVTN6’s unparalleled tonal versatility and performance capabilities.
MSRP $1699.99
For more information, please visit jacksonguitars.com.
Tetrarch's Diamond Rowe Unveils Her New Signature Pro Series DR12MG EVTN6 | Jackson Guitars - YouTube
Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube.Jackson Pro Series Signature Diamond Rowe Electric Guitar - Dark Rose
Signature Diamond Rowe, Dark RoseCort Guitars introduces the GB-Fusion Bass Series, featuring innovative design and affordable pricing.
Cort Guitars have long been synonymous with creating instruments that are innovative yet affordably priced. Cort has done it again with the GB-Fusion Bass series. The GB-Fusion builds upon Cort’s illustrious GB-Modern series and infuses it with its own distinctive style and sound.
It starts with the J-style bass design. The GB-Fusion features a solid alder body – the most balanced of all the tonewoods – providing a fantastic balance of low, mid, and high frequencies. The visually stunning Spalted maple top extends the dynamic range of the bass. A see-through pickguard allows for its spalted beauty to show through. The four-string version of the GB-Fusion is lacquered in a supreme Blue Burst stained finish to show off its natural wood grain. The five-string version features a classic Antique Brown Burst stained finish. A bolt-on Hard maple neck allows for a punchier mid-range. An Indian rosewood fretboard with white dot inlays adorns the 4-string Blue Burst version of the GB-Fusion with an overall width of 1 ½” (38mm) at the nut, while the GB-Fusion 5 Antique Brown Burst features a Birdseye Maple fretboard with black dot inlays and an overall width of 1 7/8” (47.6mm) at the nut. Both come with glow in the dark side dot position markers to help musicians see their fretboard in the dark. The headstock features Hipshot® Ultralite Tuners in classic 20:1 ratio. They are cast of zinc with aluminum string posts making them 30% lighter than regular tuners providing better balance and tuning accuracy.
Cort’s brand-new Voiced Tone VTB-ST pickups are the perfect J-style single coil with clear and robust bass sounds and classic warmth. The GB-Fusion comes with a 9-volt battery-powered active preamp to dial in the sound. With push/pull volume, blend knob, and 3-band active electronics, players can access a wide array of tones. The MetalCraft M Bridge is a solid, high-mass bridge. It provides better tone transfer and makes string changes easy. Strings can be loaded through the body or from the top giving players their choice of best string tension. The MetalCraft M4 for 4-string has a string spacing of 19mm (0.748”) while the MetalCraft M5 is 18mm (0.708”). Speaking of strings, D’Addario® EXL 165 strings complete the GB-Fusion 4. D’Addario EXL 170-5SL strings complete the GB-Fusion 5.
Cort Guitars prides itself on creating inventive instruments musicians love to play. The GB-Fusion Bass Series is the latest and greatest for musicians looking for a stellar bass guitar that is not only economical, but has the reliable robust sound needed to hold up the back end in any playing situation.
GB-Fusion 4 Street Price: $699.99
GB-Fusion 5 Street Price: $849.99
For more information, please visit cortguitars.com.