Cutting Through...

TylerDurdenPSSC

TylerDurdenPSSC

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Now, I know what you're thinking;

"Oh great, ANOTHER thread about how well our
Warwicks cut through the mix they're introduced
into."

Well, I pose a different (or at least I think) quandary
on the topic.

I've been listening to Nickelback's AOL Sessions on
YouTube (Yes, I AM a Nickelback fan!) and I must
admit, I know Mike plays US Spectors and all, and
this isn't in spite of Spectors, but I think the only
reason I can even hear him over Chad and Ryan's
heavily distorted Gibson's and PRS's is because of
the B string on his bass! :eek:

So, to all you 4/5 string players out there, do you
ever find that your five string cuts through the mix
just slightly better than your four strings do?
 
Does he play the other strings as well?or just the B?
I'm not sure I get what you're asking mate.
 
Sometimes I think he does, doesn't look like it though.

What I'm asking is; "Do you think your B string cuts through
better than your E string does?"
 
Hmmmmm,

interesting but.............I doubt it. I do know that you can hear the bass on Nickelback's songs really really clearly.
I'm not a fan of Nickelback, but I have to admit they have some very enjoyable songs. Seriously, the bass on "Figured you out" is really simple, but it just sounds soo awesome...............:twisted:
 
Nickelback's latest video has him playing a Warwick I thought? Very deep and clear tone in it too.
 
I think that it would help it cut through, because the B string on my schecter cuts through the sound very well, they both have EMG's so i think they sound the same.
 
In some cases, yes, because its often an unclaimed frequency. With my Warwick, I almost never have to think about cutting through... and when I do, I just add a few dB of bass and low or high mids on the amp and set the pickups to 55-60% Bridge and 40-45% Neck. The pickup balance I find is quite responsive...
 
I think whether or not you 'cut through' isn't so dependent on how many strings you have - it's more about whether there's a "sonic space" for you to occupy or not (along the same lines as Michael J said above).. It depends a lot on your band and the tone used by the other players. Our guitarist has a thick tone, but it drops off fast in lows before getting into my range. That lets the actual character of my bass come through nicely - it definitely cuts. And he and I stay out of each other's way, tonally speaking.

I also do some sit-in work, and sometimes have to play with guitarists whose tone is bass-heavy and gets into my range, especially when they "scoop" it. When that happens, my tone suffers - but I can still get by. To fix it, I add just a little extra "grit" and voila, I'm back. I always run my preamp at the edge of mild distortion as it gives it a nice thick tone and I can play a little harder to make it distort a bit and really cut when I want to accent something. But the fix is like I said above - I just move myself to a different "sonic space". The grit adds midrange, which is missing from the guitarist's sound, and I'm heard once again - WITHOUT a volume war.

Another thing that makes a huge difference: Stage volume and PA/engineer support. I run very low stage volume and monitor thru my in-ears. The PA gives me all the 'oomph' I need, with a LOT more ass than a bass rig on stage can. And the engineer does a great job of making sure everything's balanced and all the band members are heard.

By the way, I play a 6-string Warwick, and a 5 string Carvin mainly. Both perform equally well with the described tricks. :)
 
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Yes, I actually think the B string on most warwick model will definitely cut through easier than other B strings. But, will it cut through better than the A or D strings on my thumb? I don't think so. It all depends on the bass I think (because the B string on my Fender isn't cutting that much)...
 
the B string just seemingly cuts through better as it sounds more massive than the other ones, W do not have that problem of bad string balance than some other brands do. I feel pretty comfortable with the way the notes cut or don't cut trough, even though I'd wish the D and G strings on my thumb bass had more meat, but that is just the mind playing tricks, live or in rehearsal the notes are there and the bass sounds amazing.
I like the tone of Nickelback bass, it has that great rock sound.
=g=
 




Usually, if I can't hear myself
well enuf, I just stop playing.

I don't make a big gesture of
it, more like a 'fade to black'.
But I just figger no sense in
pissin into the wind.​


 
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I think TJ hit it on the head. There's only so much bandwith to go around, and if somebody's in your space, you adjust. I try as much as I can to boost some low mids (with the 'Vette, on the amp. with the Bongo, on the bass) instead of straight lows, because I think it keeps my sound more defined, which helps me cut through regardless of 4 or 5 string.

I find fighting for space more common in guitar players who play and practice alone, where they have the spectrum to themselves. This proves to be a double edged sword: They're actually paying attention to how full their sound is, but they're running into your space because they're used to you not being there.
 
+JohnnyBoy- said:
I think TJ hit it on the head. There's only so much
bandwith to go around, and if somebody's in your
space, you adjust. I try as much as I can to boost
some low mids (with the 'Vette, on the amp. with
the Bongo, on the bass) instead of straight lows,
because I think it keeps my sound more defined,
which helps me cut through regardless of 4 or 5
string ........
Click to expand...


I think you've also nailed something as well ....
but I bet you'd agree that more than 'cutting
thru', you are worming thru, infiltrating, etc ....

IOW anything other than a direct clash and cut
[or punch] to get thru. It's like avoiding traffic
by going thru a different part of town.

The Bongo, with it's 4-band EQ, or even any
3-band with a mid-sweep, can be dialed up
"against" a 3 or 4 band EQ on your amp, to hit
on some narrow bands, kinda like an unevenly
spaced 7, or 8, band EQ in total. It's not likely
that the the center frequencies for the amp's
EQ bands are the same as those for the bass's
onboard EQ ... more like hugely UN-likely.

It may take some persistent knob twiddling,
but that "mismatch" of EQ band centers can
help you 'package' your sound to use some
sonic pathways, some frequency bands, that
are not already overcrowded.

​

 
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you know, I wish guitar players spent at least 10% of the time figuring out things about sonic space, places in the mix and the overall - band- sound, that bass players do. life would be much easier.
=g=
 
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