Electric Bass: Difference between revisions
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<font size = "4">'''The Electric Bass and the | {{Editorial}} | ||
<font size = "4">'''The Electric Bass and the Bose<sup>®</sup> {{L1 no link}} system'''</font> | |||
<font size = "4">Configuration options and practical tradeoffs – one user<nowiki>’</nowiki>s perspective</font> | <font size = "4">Configuration options and practical tradeoffs – one user<nowiki>’</nowiki>s perspective</font> | ||
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=== It costs ''how'' much? === | === It costs ''how'' much? === | ||
The high cost of the {{L1}} system is the proverbial elephant in the room. There is no avoiding the fact that an extended-bass {{L1}} system, employing four {{B1}} bass modules, one {{L1}} system, and one {{A1}} | The high cost of the {{L1}} system is the proverbial elephant in the room. There is no avoiding the fact that an extended-bass {{L1}} system, employing four {{B1}} bass modules, one {{L1}} system, and one {{A1}} is among the most expensive bass rigs one can buy, on a par with the most exclusive of boutique amplifiers. Even the minimum recommended configuration of an {{L1}} and two {{B1}} modules is a lot of money compared to the typical bass rig. | ||
The immediate and obvious question is, "is it worth it?" And the obvious answer is, of course, "it depends." The L1 does make a fine bass amp, but those with limited resources are faced with some hard choices. As with all things, there are tradeoffs. | The immediate and obvious question is, "is it worth it?" And the obvious answer is, of course, "it depends." The L1 does make a fine bass amp, but those with limited resources are faced with some hard choices. As with all things, there are tradeoffs. | ||
The primary benefit of the {{L1}} is its dispersion characteristic. While still a factor for the electric bass due to the overtones present in the signal, this attribute is of less importance than it is for sources that are centered in a higher frequency range. If a listener steps out of the directional "beam" of a guitar amp, the difference is instantly noticeable. With a bass amp, the difference is more subtle. | The primary sonic benefit of the {{L1}} is its dispersion characteristic. While still a factor for the electric bass due to the overtones present in the signal, this attribute is of less importance than it is for sources that are centered in a higher frequency range. If a listener steps out of the directional "beam" of a guitar amp, the difference is instantly noticeable. With a bass amp, the difference is more subtle. | ||
It is entirely possible to get good overall bass tone by using a conventional bass rig in a band that is otherwise exclusively built around {{L1}} systems. The conventional rig will of course retain the limitations of all such amplifiers, in particular directionality. However, as noted above this is far less noticeable than it is for an electric guitar. | It is entirely possible to get good overall bass tone by using a conventional bass rig in a band that is otherwise exclusively built around {{L1}} systems. The conventional rig will of course retain the limitations of all such amplifiers, in particular directionality. However, as noted above this is far less noticeable than it is for an electric guitar. | ||
From a practical standpoint, the biggest reason to abandon a conventional bass rig is the physical size and weight of these rigs. Some cabinets can weigh 100 pounds or more and be almost the size of a refrigerator. Indeed, in 2003 as a marketing promotion Ampeg took the housing for an SVT-810 bass cabinet and actually did install a working refrigerator in it!<ref>http://namm.harmony-central.com/SNAMM03/Content/Ampeg/PR/SVT810-Fridge.html</ref> With an extended-bass {{L1}} system there are several pieces, but the heaviest one still weighs less than a typical amp head…and all are relatively compact, which makes transport easy. | From a practical standpoint, the biggest reason to abandon a conventional bass rig is the physical size and weight of these rigs. Some cabinets can weigh 100 pounds or more and be almost the size of a refrigerator. Indeed, in 2003 as a marketing promotion Ampeg took the housing for an SVT-810 bass cabinet and actually did install a working refrigerator in it!<ref>http://namm.harmony-central.com/SNAMM03/Content/Ampeg/PR/SVT810-Fridge.html</ref> With an extended-bass {{L1}} system there are several pieces, but the heaviest one still weighs less than a typical amp head…and all are relatively compact, which makes transport easy. The dramatically smaller and lighter power stand of the {{Model II}} makes this contrast even more marked. | ||
If money is a real issue, these benefits alone are not in my opinion sufficient reason to warrant the high cost, assuming the {{L1}} is to be used solely as a bass amp. Where it does make sense from a financial standpoint is if the system replaces both a conventional bass rig ''and'' other equipment. | If money is a real issue, these benefits alone are not in my opinion sufficient reason to warrant the high cost, assuming the {{L1}} is to be used solely as a bass amp. Where it does make sense from a financial standpoint is if the system replaces both a conventional bass rig ''and'' other equipment. | ||
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Another notable difference came from the fact that I was no longer sharing a system with the guitar. Having two discrete sources resulted in better overall sound, even though the two instruments were not "stepping on" one another in terms of frequency distribution. This is no doubt due to the ambience created by the physical separation of the {{L1}}s. | Another notable difference came from the fact that I was no longer sharing a system with the guitar. Having two discrete sources resulted in better overall sound, even though the two instruments were not "stepping on" one another in terms of frequency distribution. This is no doubt due to the ambience created by the physical separation of the {{L1}}s. | ||
In terms of tone, the sound was different from the hybrid solution. The bottom end was tighter and punchier. It didn<nowiki>’</nowiki>t have the raw physical "thump" of a big speaker being driven by a large amplifier, but I soon realized (based on stepping away from the system and listening to it from the audience) that particular characteristic is not actually all that important. | In terms of tone, the sound was different from the hybrid solution. The bottom end was tighter and punchier. It didn<nowiki>’</nowiki>t have the raw physical "thump" of a big speaker being driven by a large amplifier, but I soon realized (based on stepping away from the system and listening to it from the audience) that particular characteristic is not actually all that important in terms of the overall mix of the band as experienced by the audience. | ||
The improvement in sound was incrementally better, but the difference was not as dramatic as it had been when moving from the conventional setup to the {{L1}}. Nevertheless, the consensus was that it was sufficiently better overall to justify the purchase. Accordingly, I sold my conventional rig (which offset the cost of the {{A1}} and extra {{B1}}s) and | The improvement in sound was incrementally better, but the difference was not as dramatic as it had been when moving from the conventional setup to the {{L1}}. Nevertheless, the consensus was that it was sufficiently better overall to justify the purchase. Accordingly, I sold my conventional rig (which offset the cost of the {{A1}} and extra {{B1}}s) and began to use the extended-bass {{L1}} system, driven by a Line6 BassPODxt, as my bass amp. My {{L1}} also supports one channel of the drum machine and my vocal. | ||
=== Tone options === | === Tone options === | ||
Many bassists have found results they like using only the {{L1}} system (typically a 2 {{B1}} system) using the existing presets. To my ear, however, the system alone can sound a bit dry and lacking | Many bassists have found results they like using only the {{L1}} system (typically a 2 {{B1}} system) using the existing presets. To my ear, however, the system alone can sound a bit dry and lacking warmth, even with the full extended-bass package. | ||
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The alternative is to feed the {{L1}} with a signal that has been put through a | The alternative is to feed the {{L1}} with a signal that has been put through some external device that can color the sound in a manner that is pleasing to the user's ear. This can be accomplished in any one of several ways: | ||
* A rack-mount preamp | * A rack-mount preamp | ||
* A tube direct box | |||
* A pedal such as the SansAmp Bass Driver DI | * A pedal such as the SansAmp Bass Driver DI | ||
* A modeler such as the Line6 BassPODxt | * A modeler such as the Line6 BassPODxt | ||
I<nowiki>’</nowiki>ve had excellent results using the Line6 BassPODxt. By using the BassPODxt<nowiki>’</nowiki>s amp and speaker cabinet models, combined with the Studio Direct output mode, I<nowiki>’</nowiki>ve been able to get a tone that I find very pleasing…quite close to my old bass rig. It also offers some added flexibility to cure problematic EQ situations; for example, I<nowiki>’</nowiki>ve found that the simple expedient of changing the cabinet model for different venues (indoors vs. outdoors, for example) can improve the sound dramatically in a single step. | I<nowiki>’</nowiki>ve had excellent results using the Line6 BassPODxt. By using the BassPODxt<nowiki>’</nowiki>s amp and speaker cabinet models, combined with the Studio Direct output mode and no preset (00), I<nowiki>’</nowiki>ve been able to get a tone that I find very pleasing…quite close to my old bass rig. It also offers some added flexibility to cure problematic EQ situations; for example, I<nowiki>’</nowiki>ve found that the simple expedient of changing the cabinet model for different venues (indoors vs. outdoors, for example) can improve the sound dramatically in a single step. | ||
The Line6 equipment is well thought out, but it should be noted that the best results can only be obtained if the user takes the time and effort to learn how the system works. Many musicians lack the time or patience to dive deeply into devices such as these and seek a simple "plug and play" answer. | The Line6 equipment is well thought out, but it should be noted that the best results can only be obtained if the user takes the time and effort to learn how the system works. Many musicians lack the time or patience to dive deeply into devices such as these and seek a simple "plug and play" answer. | ||
There<nowiki>’</nowiki>s also the issue of "true" tube tone. Digital modeling can do many wonderful things, but it is not able to provide genuine tube tone. Fortunately, for bassists this is not nearly as critical as it is for electric guitarists, and the Line6 gear is able to produce excellent tone in its own right. | There<nowiki>’</nowiki>s also the issue of "true" tube tone. Digital modeling can do many wonderful things, but it is not able to provide genuine tube tone. Fortunately, for bassists this is not nearly as critical as it is for electric guitarists, and the Line6 gear is able to produce excellent tone in its own right. | ||
Recently, as an experiment I tried using an Ampeg SVT-DI tube direct box combined with a bass preset I like (63, Active Bass 3) instead of the BassPODxt. The results are good, and at present this is my default setup. | |||
=== Thump === | === Thump === | ||
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The first question many bassists have about the {{L1}} is, "can it push enough air?" This is an area where I believe many misconceptions come into play. Bassists tend to focus on how well a rig can reproduce the lowest frequencies, and how well it can produce the physical sensation of being hit with a powerful, low-frequency sound wave. My observation has been that the important part of the spectrum for electric bass isn<nowiki>’</nowiki>t down low…it<nowiki>’</nowiki>s in the lower end of the midrange, from about 100 Hz up. Adding too much signal below that point actually serves only to muddy the sound in my experience. | The first question many bassists have about the {{L1}} is, "can it push enough air?" This is an area where I believe many misconceptions come into play. Bassists tend to focus on how well a rig can reproduce the lowest frequencies, and how well it can produce the physical sensation of being hit with a powerful, low-frequency sound wave. My observation has been that the important part of the spectrum for electric bass isn<nowiki>’</nowiki>t down low…it<nowiki>’</nowiki>s in the lower end of the midrange, from about 100 Hz up. Adding too much signal below that point actually serves only to muddy the sound in my experience. | ||
The bassist<nowiki>’</nowiki>s perception is different from that of the audience. The bassist feels the low "thump" more because he/she is standing right in front of the cabinet, or at least in close proximity. Out in the audience, that physical "hit" of air movement, while it may still be present, is lessened. | |||
Also, because higher frequencies are deflected and absorbed much more readily than low frequencies, the tonal balance tends to shift towards the bass as the listener gets farther from the stage. This is a familiar phenomenon, readily observed at large outdoor events. The bass and drums can be heard from far away...out in the parking lot...but the higher frequencies can't be discerned until one gets much closer to the stage. An overly boomy, bass-heavy sound in the front row will only get worse as one moves away from the stage. | Also, because higher frequencies are deflected and absorbed much more readily than low frequencies, the tonal balance tends to shift towards the bass as the listener gets farther from the stage. This is a familiar phenomenon, readily observed at large outdoor events. The bass and drums can be heard from far away...out in the parking lot...but the higher frequencies can't be discerned until one gets much closer to the stage. An overly boomy, bass-heavy sound in the front row will only get worse as one moves away from the stage. | ||
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Similarly, adding a second speaker cabinet to a conventional rig can improve the tone even without an increase in amp power. The basic concept is the same; with more speakers available, it<nowiki>’</nowiki>s not necessary to drive them as hard. | Similarly, adding a second speaker cabinet to a conventional rig can improve the tone even without an increase in amp power. The basic concept is the same; with more speakers available, it<nowiki>’</nowiki>s not necessary to drive them as hard. | ||
Note that the full extended-bass {{L1}} system delivers 1000 watts and has a total speaker area roughly the same as a 4x10 cabinet. This is, of course, highly misleading, but it does show that the system is in the ballpark of a good conventional rig. | Note that the full extended-bass {{L1}} Classic system delivers 1000 watts and has a total speaker area roughly the same as a 4x10 cabinet. This is, of course, highly misleading, but it does show that the system is in the ballpark of a good conventional rig. | ||
The audible difference between a two-{{B1}} system and a four-{{B1}} system with an {{A1}} is not that one "goes deeper" or has "more bass" than the other. The {{A1}}-equipped system definitely does have more "presence" and "punch" than the two-{{B1}} system. This is readily apparent in live listening demonstrations. | The audible difference between a two-{{B1}} system and a four-{{B1}} system with an {{A1}} is not that one "goes deeper" or has "more bass" than the other. The {{A1}}-equipped system definitely does have more "presence" and "punch" than the two-{{B1}} system. This is readily apparent in live listening demonstrations. | ||
Since originally purchasing the Extended Bass package, I've had an opportunity to use the system differently (with a live drummer) and have concluded that for the music I play, if not supporting a drum machine, that a two {{B1}} system is entirely satisfactory. I speculate that the kick drum from the drum machine is soaking up a great deal of headroom, making the Extended Bass package highly desirable should the system be used to amplify drums. | |||
=== Summary === | === Summary === | ||
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* If money is tight, purchasing an {{L1}} system (particularly an extended-bass system) solely to replace a conventional bass rig is not financially justifiable in my opinion. The incremental benefit provided by the {{L1}} does not warrant the added cost. However, if it<nowiki>’'</nowiki>s used to replace additional equipment as well, it is very cost-competitive. Systems should first be purchased for those who would benefit from them more: vocalists, guitarists and keyboard players. | * If money is tight, purchasing an {{L1}} system (particularly an extended-bass system) solely to replace a conventional bass rig is not financially justifiable in my opinion. The incremental benefit provided by the {{L1}} does not warrant the added cost. However, if it<nowiki>’'</nowiki>s used to replace additional equipment as well, it is very cost-competitive. Systems should first be purchased for those who would benefit from them more: vocalists, guitarists and keyboard players. | ||
* If band resources limit the number of {{L1}}s available, continuing to use a conventional bass amp can give excellent results, especially if combined with an {{L1}} to create a hybrid system. | * If band resources limit the number of {{L1}}s available, continuing to use a conventional bass amp can give excellent results, especially if combined with an {{L1}} to create a hybrid system. | ||
* | * An {{L1}} system can and does make a viable replacement for a conventional bass rig and offers the following benefits: | ||
* -Multiple use as a vocal monitor/PA replacement | * -Multiple use as a vocal monitor/PA replacement | ||
* -Reduced weight and bulk | * -Reduced weight and bulk | ||
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* {{L1}} tone that is directly comparable to a high-quality conventional rig can be realized through the use of preamps or amp modelers. | * {{L1}} tone that is directly comparable to a high-quality conventional rig can be realized through the use of preamps or amp modelers. | ||
* The "lack of thump" concern is in my opinion a red herring. The {{L1}} produces a full, rich, musical, pleasing bass tone without having to push a huge amount of air. | * The "lack of thump" concern is in my opinion a red herring. The {{L1}} produces a full, rich, musical, pleasing bass tone without having to push a huge amount of air. | ||
* The extra presence and punch provided by additional {{B1}}s and the {{A1}} is well worth the cost | * The extra presence and punch provided by additional {{B1}}s and the {{A1}} is well worth the cost if the system is also used to amplify drums or if the music calls for it. | ||
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* Studio Tone 4x10, Silvercone 4x10 or Green 25 4x12 cabinet models, depending on venue | * Studio Tone 4x10, Silvercone 4x10 or Green 25 4x12 cabinet models, depending on venue | ||
* Tube mic, close, 20-30% room setting | * Tube mic, close, 20-30% room setting | ||
or | |||
* Full extended-bass Bose {{L1}} system (L1, {{A1}}, four {{B1}}s) | |||
* Damage Control Womanizer tube distortion pedal | |||
* Ampeg SVT-DI tube direct box | |||
'''Basses:''' | '''Basses:''' | ||
* Original bass in use at time of {{L1}} purchase, Carvin LB75A modified with Bartolini pickups and an Aguilar preamp | * Original bass in use at time of {{L1}} purchase, Carvin LB75A modified with Bartolini pickups and an Aguilar preamp | ||
* Current | * Current basses, MusicMan Bongo 5 HH w/piezo, fretless MusicMan Bongo 5H w/piezo | ||
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<references/> | <references/> | ||
[[Category:Editorial]] | |||
[[Category:Instrument]] | |||
[[Category:Bass]] | |||