The Fundamentals for Slap Bassīefore I discuss amp settings and your gear. What’s tricky is that the tone should have enough warmth while also keeping the bite and its “crispiness” in the higher register at the same time.įun Fact: the birth of slap bass originated from musicians from western swing bands in the 1920s implementing this fresh technique within their music over the decades, this unique style quickly spread across other genres: funk, rock, disco, and jazz. However, it’s important to know how to set up your tone for this playing style. Slapping is one of the most famous bass techniques in modern music and is something beginner bass players are often trying to learn. This way, it’ll sound “aggressive” and “piercing” with enough bass to pronounce the pop and slap tones. Let’s dive in… What Makes for a Good Slap ToneĪ great slap bass tone should sound “crisp” “round” and “aggressive.” This tone is achieved with the low-end and high-end frequencies boosted and the mid frequencies ‘scooped’ (kept low). Everything from technique, amp settings and types, guitars, strings, and effects. In this post, I will deliver my ultimate guide for sculpting an awesome slap bass sound from the ground up. But at the very least, it's a place for you to start and it gives you a nice clean tone, even if it's not quite JM's.Do you want to sculpt a slap bass tone like the legendary players: Marcus Miller, Larry Graham, and Flea? This is just what I've generally experimented with - I'm not saying it's right, and if I really did a deep scientific study/listening analysis there's probably a lot I could tweak/try out. I know a TS10 Tube Screamer is another essential JM pedal, but I haven't experimented too much with any of the overdrive pedals in GB because to me they dirty up the tone too much. I go with the Blue Echo, delay time 48ms, repeats 75%, mix straight up. Another thing I think he does is use an Aqua Puss delay pedal with the delay time set basically to nothing so that it just fills out the tone instead of creating a delay sound. John always runs a Keeley Katana clean boost, and there's nothing really that can copy that in GB, I don't think. One big drawback is that GB doesn't have a clean boost, at least as far as I'm aware. Pedals: I start out with the Squash Compressor, sustain at about 10 o'clock and level at about 2 o'clock. All that with the Dynamic 57 mic positioned just off center and a bit back. Also Gain just above 4, Presence just above 5, and a touch of Reverb. He likes to scoop the mids and boost the high/low ends, so for the setup I've settled on Treble just above 7, Mid at about 3.5, Bass just under 6. The closest thing you can get to something he's used in real life seems to me to be the Large Blackface Combo, which shouldn't be too far from the Fender Super Reverb/Deluxe Reverb amps he's used. Those are all very high-end amps that GB doesn't model as far as I know, and you also can't run several amps at the same time on GB like you can in real life. John's most recent setup is a Two Rock JM Sig, PRS J-MOD100, and Dumble SSS, all through PRS cabs and all running at the same time. The amp selection in GB is pretty clearly based on mimicking real amps. Just for reference, I have the volume knob on my Strat to about a 6.5 and the tone knobs to about a 7.5 while I'm doing all this. I'm by no means an expert, but here's what I've experimented with:
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