Bass Amps

In Part 1 of this series we talked about frequencies of sound and some basic principles of equalization (EQ). Now let’s look at the most common types of EQs you are likely to encounter and how to use them to take control of your sound. Because each type of EQ has an application to which it is best suited many amp makers offer a combination EQ section to give you the best of each in a practical package. We’ll use the Carvin Audio BX700 bass amp combination EQ to explore each of these types but you’ll find these controls are quite universal once you know how they work and how to recognize them.

It is highly unusual to come across any sound system that lacks some form of equalization. While many features are only on the fanciest and most expensive systems, EQ is just about everywhere. Yet of all processing equipment equalization is one of the least understood and most underestimated by everyday musicians.

One of the biggest obstacles bassists face when trying to make a dirty or overdriven bass tone sit in a full band mix is preventing the loss of low end in their sound. Sure, a dirty bass tone can really liven up your band’s mix and fatten up the overall sound, especially in a power trio setting or for heavier styles of music, but the last thing you want to do as a bassist is compromise on holding down the low end. Many overdrive pedals, even those intended for bass, have varying degrees of low end loss which may serve as a deterrent to many players considering an overdriven bass sound. Fortunately, there are ways to beef up your bass tone with overdrive while still keeping the low-end fundamental intact.

In the first part of this article we learned the basics of configuring extension speakers- as long as you know the total impedance load of your cabinet(s).

So How Do You Calculate the Total Impedance Load?

No matter which speaker configuration you select, if you're playing in different venues chances are you'll eventually want to use different cabinets or an extension speaker. Perhaps you chose a combo amp for the convenience and portability, but your next performance will be on a wide stage where you might not be able to hear your amp from the other side. An additional cabinet on the other side of the stage could be a very nice solution (and your bandmates who play over there might appreciate being able to hear you without having to add you to their crucial monitor mix). At first glance, it seems simple enough, after all your amp does have an extension speaker jack, so you might wonder, "Can't I just plug in there and crank it up?" In general you usually can do just that, but there are some things you need to know to get a good result and to protect your amp from damage. Before we look at how different speaker combinations affect the impedance load your amp has to carry, we need to know what's going on.

In a previous article, we discussed DI vs. mic for guitar and bass applications and how either choice could be appropriate for you. But what if you don’t get to choose? At some venues, the sound technicians might have their standard procedure to mic up guitar cabs and DI bass, as a common example, and you may find an old, crusty DI box waiting for you as you bring your awesome rig onstage. That is not to say there is anything wrong with using a DI; rather, that there are ways to use a this setup while still keeping essential aspects of your bass tone.

The path to becoming a professional musician is not just glitz, glamour, and being onstage in front of a thousand screaming fans. There are the unseen non-glorifying hours of being holed up in bedrooms and rehearsal spaces, honing technique, and practicing those licks, chords, and scales until they are second nature. Becoming proficient at guitar or bass requires that players not only put in the time to practice, but really make the most of that time. Choosing the right practice amp is a crucial component to helping you sound your best as a guitarist or bassist.

Many bassists looking to get more bottom out of their bass rig have considered adding a bass cabinet with a bigger speaker, such as a 1x15 (or maybe even a 1x18)! Cabinets like these have a popular reputation for providing more low end than their smaller counterparts, such as 2x10, 4x10 and 2x12 cabinets. Similarly, it’s commonly perceived that smaller speakers have more high-end and a quicker response, so players looking for a more articulate sound may gravitate to a cabinet equipped with smaller speakers.

Have you ever been at a live show and realized you can only hear each instrument clearly when the player is taking a solo? Have you also heard where one person takes a solo and everything else drops out? While these situations are not necessarily bad things, for instance a band that creates a “wall of sound” can be tastefully heavy. Creating separation between instruments can really help an audience appreciate the nuances of each band member’s playing and improve dynamics.

If your primary axe is a five-string bass, you may need to take some extra care and considerations in choosing the bass rig that will help you sound your best. While most bass gear will work fine- all of Carvin Audio’s bass amp heads and cabinets, for instance, accommodate four and five string players alike- it's important to take some time to dig into the specs and features of the next rig you have in mind. While your ears will be the ultimate judge, this article will cover three simple things you could look at in your prospective rig or even your current one: the frequency response of your cabinets, the equalization options of your bass head, and the total wattage of your rig.

As we concluded Part 1 of this series, we were looking at different areas you might want to include in your rehearsal plan. Let’s look at some more focus points:

Efficiency – Steve Lukather was one of my favorite players when I was a kid. When he played fast it was like something exploded inside him! But he still had incredible control of his phrasing and his bends sounded like they were crying. One night at an LA showcase gig, I was lucky enough to be invited to play in a group jam at the end of the night, right there on the same stage with Steve! Paying close attention as he began to solo, I immediately realized he was using some kind of magic- his fingers didn’t even move!

Admit it, I caught you looking. Even though some part of your musician’s mind probably was screaming, “There are no ‘shortcuts’ to becoming a virtuoso!” And your musician’s mind was right, at least to the extent that there are no shortcuts. But if you find yourself “stuck in a rut” as a teacher friend of mine used to say, you might need to revisit the basics of your practice routine and make some adjustments.