Does Bass Sound Better Dirty?

[@Stringjoy]

Which tone did you prefer? Why?

[@compucorder64]

Definitely the B-15, no contest. Bass should be saturated by default, and have a clean button for the rare times you need that sterile sound ;) I use an Ampeg Portaflex PF-20T tube which is sort of similar or in the lineage of the venerable B-15, but a bit too clean, alone. So I use a Darkglass Hyperluminal set to the fat 'Sym' mode as a boost to drive the input harder. Then it's about getting the power stage of the Ampeg pushing hard, for power amp saturation. Another cool pedal for gnarlier bass are Earthquaker Plumes/Blumes, Darkglass Alpha Omega or Omicron, or even a Turbo or Fat Rat set to drive subtly. As well as Earthquaker Acapulco Gold, which emulates Sunn Model T power amp saturation up to distortion. For plugins, I like Blackbox HG-2 & Newfangled Saturate (a limiter with variable saturation), as well as UAD Studer A800 for tape shaping, compression and saturation similation. Pushing an LA-2A input hard works well too. An actual tape machine like a Uher Stereo Report monitor 4400 can be cool, and not too expensive/large either, compared to a Nagra or Revox say. Or the cheaper Marantz PMD 'Pro' portable cassette recorders.

[@philipconradmusic]

I had so much fun making this video. Thanks Stringjoy for having me! ⚡️

[@BillonBass]

Good to see you younger players rediscovering what we old session players have known about since the 60s. Nice vid!

[@RobertFisher1969]

For me, the added character isn’t as important as the fact that lower frequencies tend towards being felt more than heard. Especially on systems that don’t have great bass response. Adding/enhancing the upper harmonics with saturation provides higher frequency information that helps the bass part be heard better rather than mostly felt. Especially in the context of a mix. Although then you also have to make sure that those upper harmonics aren’t fighting too much with other instruments.

[@rngrzulu1275]

More distortion, even a little, will definitely give more texture to your track and let your track stand out more. I understand why you re-amped, but it removes the sonic and physical feedback you get from playing the amp. I have a B-15N too. I get different response playing the amp vs direct, and that makes me play differently. The same thing as playing in a studio vs on a stage. The same thing as playing with IEMs vs using monitors vs a big amp on stage.

[@markhopkinsbass]

The amp sounds thinner. You can see it in the waveform and the frequency analysis. You might need to turn up the bass on the amp a little bit. This makes sense because the tubes are compressing the signal. This will affect the lows more than the highs because there is more energy there.

[@scottshipley3536]

You should do a part 2 video of this where you use various pedals for saturation - because we don't all have a B15 nor would we use it in a Live setting if we did.

[@wbertie2604]

Or plugins

[@brianvillage5]

Check out plugin alliance they have a great B15 emulation. I’ve been using it for years it sounds awesome.

[@stevez4272]

99% of the time, saturation will help 'lift' the track in the mix. It will help almost any track. I use the softube saturation knob, it works well. Sometimes I use it in conjunction with Softube's Bus Processor (it has saturation), just to kick it up a little.

[@stevebadachmusic]

I love that saturation knob!

[@compucorder64]

Newfangled Saturate, and Black Box HG-2 are two other not too expensive plugins I like for this. Saturate is sort of a variable saturation clipper/limiter of sorts. HG-2 emulates that tube drive processor, with variable saturation level, pentode, triode. Saturate & HG-2 both sound good on bass. Pushing the frontend of an LA-2 type compressor works well too. As well as the classic Ampeg B-15 type circuit like Philip uses. For that type of tone, I use a Darkglass Hyperluminal compressor set to the fat 'Sym' mode as a boost pedal to push the signal harder into their newer Portaflex PF-20T, which is roughly in a similar ball park to the B-15, but it's a bit cleaner - so I use the Darkglass. A Rat pedal, especially turbo or Fat Rat set subtly. Or an Earthquaker Plumes/Blumes can do this too, as well as Darkglass Alpha Omicron or Alpha Omega. I use the UAD Studer A800 to simulate tape compression/saturation.

[@billgaber4282]

Thanks for an insightful video. I've really enjoyed two strategies. 1: record two tracks simultaneously from a GED-2112 or 2: D.I. through a U5 class A and add I.R./emulator plug-ins during mixdown. I no longer wonder "what if I had moved that amp's mic a little".

[@Ithumpify]

I use some compression and a Tech 21 RBI sounds great

[@green8923]

One thing to note as well is how much more sub-bass the DI track had as opposed to the amp track. Perhaps to get closer to the amp track with just a DI, playing a little closer to the bridge (probably just behind the pickup or directly on it), as well as a saturation plugin may help. That very low sub-bass is great for certain genres, but in the context of this track it doesn't blend as well with the kick (IMO) and detracts from the note definition and energy of the song

[@green8923]

Also maybe a little high pass on the DI could help too.

[@rambunctiousone9096]

I like some dirt. Use nylon tape flats on Guild Starfire, Squier SS Jags, Squier Jazz. Ampeg flips. 500 and 800. Ashdown Studio 15. Thinking of getting a pedal for the Ashdown. The drive knob is so dirty at 1 it's unusable. The Ampegs work well for grit but they're so heavy I use the Ashdown out. Thanks for the video.

[@firebald2915]

With it dirty, the tail end stands out longer. It's smooth on attack and goes dirty during the tail out. It also makes your fret slide stand out. The smoothness of the snare drum and cymbal take up much of the mix because both of their tail is longer and fitting in a lower frequency needs to have grit . Filling that space under them needs volume. Highs are on top of the bass.

[@sebastiangronkvist3897]

Well, the reamped signal sounds better than anything else you compared it to. I'd like to say that normally a DI/transistoresque tone hits you in the gut while a mic'd tube amp generally hits your spine. It's very obvious when playing the two types side by side without recording. That recorded fliptop however is a fantastic tone.

[@armignac]

Of course using a Tube Amp will make the sound better, my neighbours like the clean sound more though, so its just for recording, once a week or so. Just the compression on the signal made it sit much better in the mix.

[@ivomatic13]

Stringjoy, flatwounds when? 😂

[@corycooper2942]

I agree, please make flatwounds soon

[@billgaber4282]

Manufacturing flats is a huge leap! But I trust Scott & his ace crew that they will make the best or not enter that market.

[@thomaskiesel8652]

@@billgaber4282 Yeah definitely. I've been curious for years whether Bass Braodways would be an addition to their line that people would vibe with.

[@brianvillage5]

I use uad b15 plugin, I had tried a bunch of stuff before but once I tried that it was game over. Is great To overdrive and just has a great tone. Also before I go into my interface I’m using a Moog MF Drive into an RNDI. The RNDI while subtle, really brings out the bass in an interesting way.

[@stuartholme4457]

I use my Cali 76 BC for this. The compression is an unavoidable side effect, but by no means why I use the pedal!

[@hushpuppykl]

Some grit is nice! Just a bit will not be very apparent but there’s hints of it.

[@SamBrockmann]

The amp is like a buttery, smooth tone, with a bit of olive oil to get some grit at times.

[@viktorbass]

I don't go anywhere without an Aguilar Tonehammer DI with AGS engaged :D

[@wbertie2604]

The reamped signal has significantly less low end too.

[@JLeppert]

My "clean" tone is a compressor and Tech21 Sans amp. It's kinda filthy. If I'm playing with nothing it's going to be a blues gig with 10 year old flats. Those are, sadly, few and far between.

[@JLeppert]

But to actually answer your question. A little dirt is what makes it a bass GUITAR.

[@SamBrockmann]

"Does Bass Sound Better Dirty?" Short answer: yes. Long answer: also yes, but here's why . . .

[@stuartholme4457]

Also the Softube is not nearly as cool as the amp. Something in the amp signal is giving a wonderful bloom on that lowest note in the bass line that the Softube plugin did not provide.

[@Skoall69]

I prefer the clean.

[@michaelhardie9193]

Amp for my taste

[@pCeLobster]

Every bass player is using drive right now. It's been in vogue for quite some time. The next generation will probably play completely clean to differentiate. I use both. I use drive sparingly though as I feel it has a habit of sounding better to the player than it does to the audience. Recording is a whole other thing, but live I often notice that when the bass player switches to a drive sound thinking their sound is getting bigger and more badass, it in fact sounds smaller and less clear. Clean is super powerful and bass players have demonized it as "sterile". We've kind of forsaken the simplicity we once enjoyed and joined guitar players on the never ending materialistic quest of finding the perfect drive sound.

[@comajoebuck999]

This guy looks familiar. Lol.

[@jeremyschneider9531]

This drummer /keyboardist can't hear the difference, even with ear buds 😂 Subtle