| Author | Message | ||
| samsamaha
Junior Username: samsamaha Post Number: 11 Registered: 4-2015 |
Ok, so I'm into my 2nd day of playing around with my new Signature Deluxe and I LOVE IT... but I'm a bit overwhelmed with my choices.. Unlike the Spector which I either play flat EQ or just bump up the low a bit since the EMG's are a bit hollow... and the Fender, which I use a Sadowsky pre-amp on and keep more or less flat on EQ and Vintage knob to max.. This one has a ton more control... seems the knobs have a lot more effect and the Switches throw an even bigger gamut into the mix.. On the one hand I'm able to get a nice bright tone, and on the other hand, I can also get a Jazz Bass sound with I sorta put everything in the middle and turn the switches to the up position. I tend to use this the most now, but I wonder if I'm missing some sort of "Secret mix" that maybe someone else found? Anyone else care to share their settings with me? | ||
| keith_h
Senior Member Username: keith_h Post Number: 2194 Registered: 2-2005 |
Part of getting the various sounds you want is understanding that low pass filters do not function like the tone controls on your other basses. With filters your are not boosting or cutting a particular frequency but limiting the amount of highs that are passed through. When the filter is wide open all frequencies below 6K Hz are passed through the preamp. When fully closed all frequencies below 350 Hz are passed through. The function of the Q switches is to boost the frequency at the point where the filter is set. When off there is no boost. When on depending upon how many positions you have it would likely be a 0db and 9 db boost (two way) or a 0db, 6db and 9 db boost. Bob Novy has a good post about filters here. There are some other threads in the Must Reads that also talk about tone also. As far as getting a slapping tone I usually leave both filters open and use the Q-switches to boost the high end on the neck pickup. I then tend to favor the bridge pickup volume wise. For me this tends to get the zing and by favoring the neck pickup deemphasize the mid range that comes from the bridge pickup. YMMV Keith | ||
| samsamaha
Junior Username: samsamaha Post Number: 12 Registered: 4-2015 |
wow, that makes a huge difference in why I'm confused.. So in effect, putting the knobs at max is the same as letting it all in? I have been playing with it a bit and I'm finding I prefer the tone with the filter knobs more open, than closed.. gonna head over to that thread and read it a few times, thanks | ||
| keith_h
Senior Member Username: keith_h Post Number: 2195 Registered: 2-2005 |
I just reread my post. I should have said I slightly favor the neck pickup volume wise. This is what happens when I post late at night. Yes, putting the knobs at full open is the same as letting all frequency ranges through. | ||
| 5a_quilt_top
Senior Member Username: 5a_quilt_top Post Number: 490 Registered: 6-2012 |
+1 on slightly favor the neck (bass) PU volume. Since the inherent Alembic tone is so clear and the highs really ring out, you don't need to crank a ton of treble on the instrument to get a nice articulate slap tone. It opened a whole new world for me because I can actually dial out some high end and keep the basic tone punchy and meaty and still have enough high-end on tap for slap. Previously on other instruments, I'd have to add highs, which thinned out the tone while also creating that other undesirable byproduct - pops, clacks and and string noise. Of course, you may need to fine-tune your settings to accommodate your technique, but these basic guidelines should get you going in the right direction. | ||
| samsamaha
Junior Username: samsamaha Post Number: 22 Registered: 4-2015 |
well, just an update on my search for that perfect slap tone (to my ears).. I settled on the Alembic strings for starters... best compromise with brightness and noise on the frets.. As for settings.. I have found if I turn the bridge pickup lower (to where there is maybe 25-30% pass thru), and hit the Q switch, then turn the neck pickup full bright, and have the Q off, then finally bias the front pickup by only just a little bit.. I get the best punch with some good highs for the pop's.. Still not sounding like some of the video's I've seen of guys slapping on Alembics but a lot of that can also be my technique as I'm still a student in this style. | ||
| samsamaha
Junior Username: samsamaha Post Number: 23 Registered: 4-2015 |
well, just an update on my search for that perfect slap tone (to my ears).. I settled on the Alembic strings for starters... best compromise with brightness and noise on the frets.. As for settings.. I have found if I turn the bridge pickup lower (to where there is maybe 25-30% pass thru), and hit the Q switch, then turn the neck pickup full bright, and have the Q off, then finally bias the front pickup by only just a little bit.. I get the best punch with some good highs for the pop's.. Still not sounding like some of the video's I've seen of guys slapping on Alembics but a lot of that can also be my technique as I'm still a student in this style. | ||
| jazzyvee
Senior Member Username: jazzyvee Post Number: 4476 Registered: 6-2002 |
n my SC Deluxe I prefer a warmer bottom end when I slap so tend to have the neck filter closed completely, no Q and the bridge filter and Q fully open. Then I have the pan pot slightly backed off from fully turned to the neck pickup so that I get a crisp attack. The rest is how and where I hit the strings. |
