Paul gets back with his Rick
Moderators: rickenbrother, ajish4
John,
I'm not sure if it's a normal service or one-off by WITH. You can email them and ask in simple English and they shall reply.
Email: [email protected]
I'm not sure if it's a normal service or one-off by WITH. You can email them and ask in simple English and they shall reply.
Email: [email protected]
Jeff,
The Vox Box is boost only on the lows and highs and cut only on the mids. They offer a mod that gives you boost and cut in the mids, at least they did way back when we got ours. Mine is the standard issue cut only but a local studio has the modded version. The highest bass boost freq is 1.0k and the lowest High end boost is 1.5k so basswise I feel I'm not missing out on anything. To me it would have been an additional waste of $$ as I was originally using it with an Alembic. I usually only use it for tracks where we have no idea what bass EQ is going to be needed and wait for the mix to mess with the VoxBox. Downside of these is that I suspect they would need a shock mount rack to even be remotely road worthy. so it is only used in studio situations.
The Vox Box is boost only on the lows and highs and cut only on the mids. They offer a mod that gives you boost and cut in the mids, at least they did way back when we got ours. Mine is the standard issue cut only but a local studio has the modded version. The highest bass boost freq is 1.0k and the lowest High end boost is 1.5k so basswise I feel I'm not missing out on anything. To me it would have been an additional waste of $$ as I was originally using it with an Alembic. I usually only use it for tracks where we have no idea what bass EQ is going to be needed and wait for the mix to mess with the VoxBox. Downside of these is that I suspect they would need a shock mount rack to even be remotely road worthy. so it is only used in studio situations.
Steve,
I am surprised to say the least. I can get awfully close to the "Glass Onion" sound on my Precision. I know the difference between a Jazz and Precision is night/day, but both basses have certain qualities that make them sound similar. I also didn't think of the Fender Bass VI they had lying around the studio. It would be relatively easy to achieve the "Glass Onion" sound on one of those, they get "clicky" and "ca-cawky" if played/switched correctly. Maybe George on a Jazz or VI, maybe Paul on a Jazz bass at the time, maybe the Rickenbacker with extreme preamp settings... We my never be sure.
I am surprised to say the least. I can get awfully close to the "Glass Onion" sound on my Precision. I know the difference between a Jazz and Precision is night/day, but both basses have certain qualities that make them sound similar. I also didn't think of the Fender Bass VI they had lying around the studio. It would be relatively easy to achieve the "Glass Onion" sound on one of those, they get "clicky" and "ca-cawky" if played/switched correctly. Maybe George on a Jazz or VI, maybe Paul on a Jazz bass at the time, maybe the Rickenbacker with extreme preamp settings... We my never be sure.
Matt,
So far the "we may never know" line makes the most sense, so it's get "that sound" however you can when one wants it.
As does the, tic toc short scale, F Bass VI posibility.
I have spent time getting down the tonal variations from "BOTR" with the F.. Custom Shop '64 and feel that I accomplished that goal. When I try and adapt those setting to "GO" it falls apart and yearns for that clearer/deeper bottom end of the RIC, adn the extra "ca-cawk" of the Horse Shoe.
There was a one page chat with Geoff Emery in BP some time ago where he talked about Paul getting his tones late at night, when no one else was around, by moving the amp out of the baffles and into the room. He mentions the pattern used on the microphone (memory fails which one at the moment) and that Paul used to tweak and fiddle playing tracks different ways until his fingers bled.
So far the "we may never know" line makes the most sense, so it's get "that sound" however you can when one wants it.
As does the, tic toc short scale, F Bass VI posibility.
I have spent time getting down the tonal variations from "BOTR" with the F.. Custom Shop '64 and feel that I accomplished that goal. When I try and adapt those setting to "GO" it falls apart and yearns for that clearer/deeper bottom end of the RIC, adn the extra "ca-cawk" of the Horse Shoe.
There was a one page chat with Geoff Emery in BP some time ago where he talked about Paul getting his tones late at night, when no one else was around, by moving the amp out of the baffles and into the room. He mentions the pattern used on the microphone (memory fails which one at the moment) and that Paul used to tweak and fiddle playing tracks different ways until his fingers bled.
Here's a quote from an interview with Mr. Emerick in the Spring 2000 issue EQ magazine:
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EQ: What was the secret behind those incredibly rich, creamy bass sounds on Sgt. Pepper?
Emerick: "...On Pepper, I was bringing his bass amp out of the baffles because it was being done as an overdub. We'd do it late at night when everybody had gone and we'd spend quite a bit of time on it. I've actually seen Paul's fingers bleeding from pulling out the notes, getting a note to speak properly. I used a tube C12 mic and put it about 6 or 8 feet away from the speaker cabinet and put in on figure-of-eight [polar pattern]; I also used an Altec compressor, though I don't remember the model number. And that was it, basically."
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P.S.-The C12 tube mic is the AKG C12 (click this link for more pics). Good for vocals , cellos, and acoustic guitars too. Don't blow it by putting it close to a guitar/bass amp like you do with a dynamic mic such as the Shure SM57. $6000 when my studio bought a new one 5 years ago.
P.S.S.-The figure of eight polar pattern means the diaphram in the mic picks up both signals from the front (amp, in this case) and the rear (room ambiance)of the mic. The C12 has 9 steps from Omni to Cardioid to Figure-Of-Eight polar patterns.
----------------------
EQ: What was the secret behind those incredibly rich, creamy bass sounds on Sgt. Pepper?
Emerick: "...On Pepper, I was bringing his bass amp out of the baffles because it was being done as an overdub. We'd do it late at night when everybody had gone and we'd spend quite a bit of time on it. I've actually seen Paul's fingers bleeding from pulling out the notes, getting a note to speak properly. I used a tube C12 mic and put it about 6 or 8 feet away from the speaker cabinet and put in on figure-of-eight [polar pattern]; I also used an Altec compressor, though I don't remember the model number. And that was it, basically."
--------------------------
P.S.-The C12 tube mic is the AKG C12 (click this link for more pics). Good for vocals , cellos, and acoustic guitars too. Don't blow it by putting it close to a guitar/bass amp like you do with a dynamic mic such as the Shure SM57. $6000 when my studio bought a new one 5 years ago.
P.S.S.-The figure of eight polar pattern means the diaphram in the mic picks up both signals from the front (amp, in this case) and the rear (room ambiance)of the mic. The C12 has 9 steps from Omni to Cardioid to Figure-Of-Eight polar patterns.
Ya Know,
As I was writing my last post, I was thinking about what Geoff Emerick said about the C12 and the figure-8 pattern. What makes The White Album particularly interesting for Macca bass fans is the various bass tones and various bass players on the album. "Ca-cawk" of the horseshoe is very possible as is the deep bass of the Rick as opposed to a Fender. As I said before, give a listen to "A Quick One" by The Who, it may help us put this together better...
As I was writing my last post, I was thinking about what Geoff Emerick said about the C12 and the figure-8 pattern. What makes The White Album particularly interesting for Macca bass fans is the various bass tones and various bass players on the album. "Ca-cawk" of the horseshoe is very possible as is the deep bass of the Rick as opposed to a Fender. As I said before, give a listen to "A Quick One" by The Who, it may help us put this together better...
I still think the White Album is predominantly Ric, Glass Onion I've always thought of as a Ric sound. You can get a similiar sound with a Fender by muting it with flatwounds, but normally a P or J bass sound is a little more clicky and clear when muted with flats to me that a Ric. I've owned and played all three. In fact I'd be willing to bet that Glass Onion is a Ric, it sounds like classic Ric to me. I think he just played more trebly on a lot of songs on that album, kind of like a lot of experimentation, that album is kind of all over the place anyway, to me it's not a very cohesive album.
And that also ties in with the toggle switch upside down theory to me. I think he used the horseshoe (in conjunction with the toaster and mute and pick) a lot on this album for that over the top trebly sound on certain songs that a lot of people think is the jazz. And it does sound like it's capped to me.
And that also ties in with the toggle switch upside down theory to me. I think he used the horseshoe (in conjunction with the toaster and mute and pick) a lot on this album for that over the top trebly sound on certain songs that a lot of people think is the jazz. And it does sound like it's capped to me.