{"id":383083,"date":"2019-08-31T18:00:26","date_gmt":"2019-08-31T16:00:26","guid":{"rendered":"https:\/\/www.thomann.de\/blog\/?p=383083"},"modified":"2019-08-28T13:18:31","modified_gmt":"2019-08-28T11:18:31","slug":"hit-the-tone-funk-bass","status":"publish","type":"post","link":"https:\/\/www.thomann.de\/blog\/en\/gear\/hit-the-tone-funk-bass\/","title":{"rendered":"HIT THE TONE! &#8217;70s Funk Bass"},"content":{"rendered":"<h3 style=\"text-align: center;\"><b>HIT THE TONE!<br \/>\n&#8220;If your bass doesn&#8217;t sound funky it&#8217;s because you don&#8217;t want it to&#8221;<\/b><\/h3>\n<figure id=\"attachment_384467\" aria-describedby=\"caption-attachment-384467\" style=\"width: 400px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.thomann.de\/blog\/wp-content\/uploads\/2222\/09\/Bootsy_Collins-04.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-384467\" src=\"https:\/\/www.thomann.de\/blog\/wp-content\/uploads\/2222\/09\/Bootsy_Collins-04.jpg\" alt=\"\" width=\"400\" height=\"400\" srcset=\"https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/Bootsy_Collins-04.jpg 800w, https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/Bootsy_Collins-04-300x300.jpg 300w, https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/Bootsy_Collins-04-150x150.jpg 150w, https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/Bootsy_Collins-04-768x768.jpg 768w\" sizes=\"(max-width: 400px) 100vw, 400px\" \/><\/a><figcaption id=\"caption-attachment-384467\" class=\"wp-caption-text\">Bootsy Collins [by MikaV (CC BY-SA)]<\/figcaption><\/figure>\n<hr \/>\n<h3 style=\"text-align: center;\">But I&#8217;ve been trying all my life<\/h3>\n<p>Well, that&#8217;s a saying. It&#8217;s obvious that the most important thing, the <strong>magic,<\/strong> is in your fingers: if you don&#8217;t master the funk techniques (mainly <strong>slap<\/strong>, the technique that produces the characteristic <strong>percussive sound<\/strong> of the genre, basically hitting the strings against the neck of the instrument), you can forget about sounding like <a href=\"https:\/\/open.spotify.com\/artist\/5K0rbdBrs2tNXe5LeWMATT\" target=\"_blank\" rel=\"noopener\"><strong>Bootsy Collins<\/strong><\/a>. Well, that said, there are some tricks that can make you sound like someone who, at the very least, knows who Bootsy Collins is. In this article you&#8217;ll find an overview of the elements you need to keep in mind when orienting your sound to <strong>funk:<\/strong> the <strong>bass<\/strong> itself, the <strong>effects pedals,<\/strong> the <strong>amp<\/strong>\u00a0<strong>heads<\/strong>, the <em><strong>screens<\/strong> <\/em>and that eternal question that affects not only the bass in funk, but the bass in all genres: Which is better, playing <strong>DI<\/strong> or <strong>mic&#8217;ing the amp<\/strong>?<\/p>\n<hr \/>\n<h3 style=\"text-align: center;\">What is that hideous thing hanging from your shoulders?<\/h3>\n<p>No cutting corners: when it comes to getting a powerful, defined sound (any sound other than a punk or garage sound), every penny you spend translates into a substantial improvement in the final product. Having this clear, the rest will be much easier. The first one worth spending a few minutes on is the <a href=\"https:\/\/www.thomann.de\/gb\/fender_american_pro_jazz_bass_rw_3ts.htm\" target=\"_blank\" rel=\"noopener\"><strong>Fender Jazz Bass<\/strong><\/a>, considered one of the most <strong>versatile<\/strong> basses in the world, if not the most. The proof? You&#8217;ll see top musicians of any style you can imagine with a Jazz Bass on their shoulders. Don&#8217;t forget about the <a href=\"https:\/\/www.thomann.de\/gb\/fender_sq_cv_60s_jazz_bass_fl_lrl_3ts.htm\" target=\"_blank\" rel=\"noopener\"><strong>Squier version<\/strong><\/a>\u00a0of the model, as always, much cheaper yet offering a number of similar features.<\/p>\n\n\t\t<style>\n\t\t\t#gallery-1 {\n\t\t\t\tmargin: auto;\n\t\t\t}\n\t\t\t#gallery-1 .gallery-item {\n\t\t\t\tfloat: left;\n\t\t\t\tmargin-top: 10px;\n\t\t\t\ttext-align: center;\n\t\t\t\twidth: 50%;\n\t\t\t}\n\t\t\t#gallery-1 img {\n\t\t\t\tborder: 2px solid #cfcfcf;\n\t\t\t}\n\t\t\t#gallery-1 .gallery-caption {\n\t\t\t\tmargin-left: 0;\n\t\t\t}\n\t\t\t\/* see gallery_shortcode() in wp-includes\/media.php *\/\n\t\t<\/style>\n\t\t<div id='gallery-1' class='gallery galleryid-383083 gallery-columns-2 gallery-size-medium'><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon portrait'>\n\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"113\" height=\"300\" src=\"https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/Fender-American-Pro-Jazz-Bass-RW-3TS-113x300.png\" class=\"attachment-medium size-medium\" alt=\"\" aria-describedby=\"gallery-1-383232\" srcset=\"https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/Fender-American-Pro-Jazz-Bass-RW-3TS-113x300.png 113w, https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/Fender-American-Pro-Jazz-Bass-RW-3TS.png 160w\" sizes=\"(max-width: 113px) 100vw, 113px\" \/>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-1-383232'>\n\t\t\t\tFender American Pro Jazz Bass\n\t\t\t\t<\/dd><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon portrait'>\n\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"109\" height=\"300\" src=\"https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/Fender-SQ-CV-60s-Jazz-Bass-FL-LRL-3TS-109x300.png\" class=\"attachment-medium size-medium\" alt=\"\" aria-describedby=\"gallery-1-383231\" srcset=\"https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/Fender-SQ-CV-60s-Jazz-Bass-FL-LRL-3TS-109x300.png 109w, https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/Fender-SQ-CV-60s-Jazz-Bass-FL-LRL-3TS.png 155w\" sizes=\"(max-width: 109px) 100vw, 109px\" \/>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-1-383231'>\n\t\t\t\tFender SQ CV 60s Jazz Bass\n\t\t\t\t<\/dd><\/dl><br style=\"clear: both\" \/>\n\t\t<\/div>\n\n<p>Other basses that can be very juicy when playing the funk sound are the <a href=\"https:\/\/www.thomann.de\/gb\/cort_b4_plus_as_443845.htm\" target=\"_blank\" rel=\"noopener\"><strong>Cort B4 Plus<\/strong><\/a>\u00a0or the <a href=\"https:\/\/www.thomann.de\/gb\/sterling_by_music_man_s_u_b._sting_ray_5_bk.htm\"><strong>Sterling by Music Man S.U.B. Sting Ray<\/strong><\/a>. The <a href=\"https:\/\/www.thomann.de\/gb\/search_dir.html?sw=marcus+miller&amp;smcs=211b50_3771\" target=\"_blank\" rel=\"noopener\"><strong>Marcus Miller<\/strong><\/a>\u00a0brand deserves a special mention and a conscientious study of its catalogue, if you seriously want to play funk.<\/p>\n\n\t\t<style>\n\t\t\t#gallery-2 {\n\t\t\t\tmargin: auto;\n\t\t\t}\n\t\t\t#gallery-2 .gallery-item {\n\t\t\t\tfloat: left;\n\t\t\t\tmargin-top: 10px;\n\t\t\t\ttext-align: center;\n\t\t\t\twidth: 33%;\n\t\t\t}\n\t\t\t#gallery-2 img {\n\t\t\t\tborder: 2px solid #cfcfcf;\n\t\t\t}\n\t\t\t#gallery-2 .gallery-caption {\n\t\t\t\tmargin-left: 0;\n\t\t\t}\n\t\t\t\/* see gallery_shortcode() in wp-includes\/media.php *\/\n\t\t<\/style>\n\t\t<div id='gallery-2' class='gallery galleryid-383083 gallery-columns-3 gallery-size-medium'><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon portrait'>\n\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"105\" height=\"300\" src=\"https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/Cort-B4-Plus-AS-Natural-105x300.png\" class=\"attachment-medium size-medium\" alt=\"\" aria-describedby=\"gallery-2-383238\" srcset=\"https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/Cort-B4-Plus-AS-Natural-105x300.png 105w, https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/Cort-B4-Plus-AS-Natural.png 149w\" sizes=\"(max-width: 105px) 100vw, 105px\" \/>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-2-383238'>\n\t\t\t\tCort B4 Plus AS Natural\n\t\t\t\t<\/dd><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon portrait'>\n\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"103\" height=\"300\" src=\"https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/Sterling-by-Music-Man-S.U.B.-Sting-Ray-5-103x300.png\" class=\"attachment-medium size-medium\" alt=\"\" aria-describedby=\"gallery-2-383237\" srcset=\"https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/Sterling-by-Music-Man-S.U.B.-Sting-Ray-5-103x300.png 103w, https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/Sterling-by-Music-Man-S.U.B.-Sting-Ray-5.png 144w\" sizes=\"(max-width: 103px) 100vw, 103px\" \/>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-2-383237'>\n\t\t\t\tSterling by Music Man S.U.B. Sting Ray 5\n\t\t\t\t<\/dd><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon portrait'>\n\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"104\" height=\"300\" src=\"https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/Marcus-Miller-V7-Swamp-Ash-5-104x300.png\" class=\"attachment-medium size-medium\" alt=\"\" aria-describedby=\"gallery-2-383236\" srcset=\"https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/Marcus-Miller-V7-Swamp-Ash-5-104x300.png 104w, https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/Marcus-Miller-V7-Swamp-Ash-5.png 148w\" sizes=\"(max-width: 104px) 100vw, 104px\" \/>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-2-383236'>\n\t\t\t\tMarcus Miller V7 Swamp Ash-5\n\t\t\t\t<\/dd><\/dl><br style=\"clear: both\" \/>\n\t\t<\/div>\n\n<p>In any case you must bear in mind that your bass is <strong>versatile<\/strong> (funk is a genre that usually envelops -or is enveloped by- other <strong>sub-genres<\/strong> of <strong>Afro-American music,<\/strong> such as <strong>soul, blues<\/strong> or <strong>jazz<\/strong>) and that the neck is robust enough so that, when playing with the slap technique (when striking the strings against the wood), it generates the sound we are looking for.<\/p>\n<hr \/>\n<h3 style=\"text-align: center;\">So I&#8217;m basically Bootsy by now, right?<\/h3>\n<p>No, nooooo, we&#8217;re just getting started. Patience. Let&#8217;s move on to one of the\u00a0most important elements of playing funk with the slap technique: <strong>Envelope Controlled Filters<\/strong>.\u00a0 Some people consider them directly as &#8220;funk machines&#8221; or &#8220;wah machines&#8221; and with good reason. This sound alteration system was created in the middle of the last century, and is defined through four parameters: <strong>attack, decay, sustain<\/strong> and <strong>release.<\/strong> It must be said is that the <strong>intensity of the effect<\/strong> is controlled almost entirely by you. A\u00a0<strong>sweep filter<\/strong> is controlled through the <strong>volume<\/strong> and <strong>dynamics<\/strong> of the signal. When playing a string, the <strong>attack<\/strong> raises the level, very quickly, to its peak, higher with respect to what comes next. The <strong>decay<\/strong> causes a descent to a normal level and a subsequent vibration of the note -the <strong>sustain<\/strong>&#8211; in its natural tone. Then the note fades away and this event is called the <strong>release.<\/strong> And now, without further ado, the beasts themselves:<\/p>\n<p style=\"text-align: center;\"><a href=\"https:\/\/www.thomann.de\/gb\/mxr_m_82_bass_envelope_filter.htm\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-383523\" src=\"https:\/\/www.thomann.de\/blog\/wp-content\/uploads\/2222\/09\/MXR-M-82-Bass-Envelope-Filter.png\" alt=\"\" width=\"292\" height=\"375\" srcset=\"https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/MXR-M-82-Bass-Envelope-Filter.png 342w, https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/MXR-M-82-Bass-Envelope-Filter-234x300.png 234w\" sizes=\"(max-width: 292px) 100vw, 292px\" \/><\/a><\/p>\n<p>The <a href=\"https:\/\/www.thomann.de\/gb\/mxr_m_82_bass_envelope_filter.htm\" target=\"_blank\" rel=\"noopener\"><strong>MXR M 82 Bass<\/strong><\/a>\u00a0 is a fully <strong>analog<\/strong> envelope controlled filter. Many bassists consider it the best. They emphasize its great adaptation to your sensitivity when playing (it allows to regulate it), its robustness and resistance and its great versatility when generating different shades of sound.<\/p>\n<div class=\"brlbs-cmpnt-container brlbs-cmpnt-content-blocker brlbs-cmpnt-with-individual-styles\" data-borlabs-cookie-content-blocker-id=\"youtube-content-blocker\" data-borlabs-cookie-content=\"PGlmcmFtZSB0aXRsZT0iTVhSIEJhc3MgRW52ZWxvcGUgRmlsdGVyIiB3aWR0aD0iNTAwIiBoZWlnaHQ9IjI4MSIgc3JjPSJodHRwczovL3d3dy55b3V0dWJlLW5vY29va2llLmNvbS9lbWJlZC9abi0xQUVsd2NfND9mZWF0dXJlPW9lbWJlZCIgZnJhbWVib3JkZXI9IjAiIGFsbG93PSJhY2NlbGVyb21ldGVyOyBhdXRvcGxheTsgY2xpcGJvYXJkLXdyaXRlOyBlbmNyeXB0ZWQtbWVkaWE7IGd5cm9zY29wZTsgcGljdHVyZS1pbi1waWN0dXJlOyB3ZWItc2hhcmUiIHJlZmVycmVycG9saWN5PSJzdHJpY3Qtb3JpZ2luLXdoZW4tY3Jvc3Mtb3JpZ2luIiBhbGxvd2Z1bGxzY3JlZW4+PC9pZnJhbWU+\">\n<div class=\"brlbs-cmpnt-cb-preset-c brlbs-cmpnt-cb-youtube\">\n<div class=\"brlbs-cmpnt-cb-thumbnail\" style=\"background-image: url('https:\/\/www.thomann.de\/blog\/app\/uploads\/borlabs-cookie\/2\/brlbs-cb-youtube-main.png')\"><\/div>\n<div class=\"brlbs-cmpnt-cb-main\">\n<div class=\"brlbs-cmpnt-cb-play-button\"><\/div>\n<div class=\"brlbs-cmpnt-cb-content\">\n<p class=\"brlbs-cmpnt-cb-description\">You are currently viewing a placeholder content from <strong>YouTube<\/strong>. To access the actual content, click the button below. Please note that doing so will share data with third-party providers.<\/p>\n<p> <a class=\"brlbs-cmpnt-cb-provider-toggle\" href=\"#\" data-borlabs-cookie-show-provider-information role=\"button\">More Information<\/a> <\/div>\n<div class=\"brlbs-cmpnt-cb-buttons\"> <a class=\"brlbs-cmpnt-cb-btn\" href=\"#\" data-borlabs-cookie-unblock role=\"button\">Unblock this content<\/a> <a class=\"brlbs-cmpnt-cb-btn\" href=\"#\" data-borlabs-cookie-accept-service role=\"button\" style=\"display: inherit\">Accept required service and unblock its content<\/a> <\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<p>The <a href=\"https:\/\/www.thomann.de\/gb\/aguilar_filter_twin.htm\" target=\"_blank\" rel=\"noopener\"><strong>Aguilar Filter Twin<\/strong><\/a>\u00a0 uses<strong> two equal filters<\/strong> that sweep in <strong>opposite directions<\/strong>: one raises the frequencies and the other lowers them. This generates the classic <strong>contrast<\/strong> that we associate with funk. Its<strong> ease of use<\/strong> makes it a widely popular pedal, given its <strong>transparency, intuitiveness<\/strong> and the <strong>quality<\/strong> of the results obtained.<\/p>\n<p>Two other filters widely recognized by the <strong>robustness<\/strong> of its sound and the wide range of resources with which it allows to play are the <a href=\"https:\/\/www.thomann.de\/gb\/electro_harmonix_nano_bassballs.htm\" target=\"_blank\" rel=\"noopener\"><strong>Electro Harmonix Nano Bassballs<\/strong><\/a>\u00a0and the <a href=\"https:\/\/www.thomann.de\/gb\/mooer_bass_sweeper.htm\" target=\"_blank\" rel=\"noopener\"><strong>Mooer Bass Sweeper<\/strong><\/a>, considered by many bassists as first cousins.<\/p>\n\n\t\t<style>\n\t\t\t#gallery-3 {\n\t\t\t\tmargin: auto;\n\t\t\t}\n\t\t\t#gallery-3 .gallery-item {\n\t\t\t\tfloat: left;\n\t\t\t\tmargin-top: 10px;\n\t\t\t\ttext-align: center;\n\t\t\t\twidth: 33%;\n\t\t\t}\n\t\t\t#gallery-3 img {\n\t\t\t\tborder: 2px solid #cfcfcf;\n\t\t\t}\n\t\t\t#gallery-3 .gallery-caption {\n\t\t\t\tmargin-left: 0;\n\t\t\t}\n\t\t\t\/* see gallery_shortcode() in wp-includes\/media.php *\/\n\t\t<\/style>\n\t\t<div id='gallery-3' class='gallery galleryid-383083 gallery-columns-3 gallery-size-medium'><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon portrait'>\n\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"270\" height=\"300\" src=\"https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/Aguilar-Filter-Twin-270x300.png\" class=\"attachment-medium size-medium\" alt=\"\" srcset=\"https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/Aguilar-Filter-Twin-270x300.png 270w, https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/Aguilar-Filter-Twin.png 475w\" sizes=\"(max-width: 270px) 100vw, 270px\" \/>\n\t\t\t<\/dt><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon portrait'>\n\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"188\" height=\"300\" src=\"https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/Electro-Harmonix-Nano-Bassballs-188x300.png\" class=\"attachment-medium size-medium\" alt=\"\" srcset=\"https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/Electro-Harmonix-Nano-Bassballs-188x300.png 188w, https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/Electro-Harmonix-Nano-Bassballs.png 279w\" sizes=\"(max-width: 188px) 100vw, 188px\" \/>\n\t\t\t<\/dt><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon portrait'>\n\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"242\" height=\"300\" src=\"https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/Mooer-Bass-Sweeper-242x300.png\" class=\"attachment-medium size-medium\" alt=\"\" srcset=\"https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/Mooer-Bass-Sweeper-242x300.png 242w, https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/Mooer-Bass-Sweeper.png 356w\" sizes=\"(max-width: 242px) 100vw, 242px\" \/>\n\t\t\t<\/dt><\/dl><br style=\"clear: both\" \/>\n\t\t<\/div>\n\n<p><a href=\"https:\/\/www.thomann.de\/gb\/search_dir.html?sw=boss+bass&amp;smcs=211b50_1634\" target=\"_blank\" rel=\"noopener\"><strong>Boss pedals<\/strong><\/a> deserve a special mention. Specifically, when talking about how to generate a funk sound, three are obvious: <a href=\"https:\/\/www.thomann.de\/gb\/boss_syb5.htm\" target=\"_blank\" rel=\"noopener\"><strong>SYB-5<\/strong><\/a>, <a href=\"https:\/\/www.thomann.de\/gb\/boss_geb7_bass_eq.htm\" target=\"_blank\" rel=\"noopener\"><strong>GEB-7<\/strong><\/a>\u00a0and <a href=\"https:\/\/www.thomann.de\/gb\/boss_lmb3.htm\" target=\"_blank\" rel=\"noopener\"><strong>LMB-3<\/strong><\/a>. In the case of the former, we are talking about a <strong>synthesizer<\/strong> that, although it requires a great learning curve, will give your <strong>bass textures<\/strong> that you will find difficult to get with any other pedal. In terms of funk textures, details can make a big difference. The <strong>GEB-7<\/strong> is an <strong>equalizer<\/strong> that, in this case, will help us to change from one genre to another without batting an eye, something that, as we have mentioned before, is practically inevitable in funk. The LMB-3, on the other hand, will give your sound a very detailed <strong>groove,<\/strong> by <strong>eliminating the discordant volume peaks<\/strong>.<\/p>\n\n\t\t<style>\n\t\t\t#gallery-4 {\n\t\t\t\tmargin: auto;\n\t\t\t}\n\t\t\t#gallery-4 .gallery-item {\n\t\t\t\tfloat: left;\n\t\t\t\tmargin-top: 10px;\n\t\t\t\ttext-align: center;\n\t\t\t\twidth: 33%;\n\t\t\t}\n\t\t\t#gallery-4 img {\n\t\t\t\tborder: 2px solid #cfcfcf;\n\t\t\t}\n\t\t\t#gallery-4 .gallery-caption {\n\t\t\t\tmargin-left: 0;\n\t\t\t}\n\t\t\t\/* see gallery_shortcode() in wp-includes\/media.php *\/\n\t\t<\/style>\n\t\t<div id='gallery-4' class='gallery galleryid-383083 gallery-columns-3 gallery-size-medium'><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon portrait'>\n\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"264\" height=\"300\" src=\"https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/Boss-SYB-5--264x300.jpg\" class=\"attachment-medium size-medium\" alt=\"\" srcset=\"https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/Boss-SYB-5--264x300.jpg 264w, https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/Boss-SYB-5-.jpg 527w\" sizes=\"(max-width: 264px) 100vw, 264px\" \/>\n\t\t\t<\/dt><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon portrait'>\n\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"186\" height=\"300\" src=\"https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/Boss-GEB-7-Bass-Equalizer--186x300.jpg\" class=\"attachment-medium size-medium\" alt=\"\" srcset=\"https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/Boss-GEB-7-Bass-Equalizer--186x300.jpg 186w, https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/Boss-GEB-7-Bass-Equalizer-.jpg 371w\" sizes=\"(max-width: 186px) 100vw, 186px\" \/>\n\t\t\t<\/dt><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon portrait'>\n\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"265\" height=\"300\" src=\"https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/Boss-LMB-3--265x300.jpg\" class=\"attachment-medium size-medium\" alt=\"\" srcset=\"https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/Boss-LMB-3--265x300.jpg 265w, https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/Boss-LMB-3-.jpg 530w\" sizes=\"(max-width: 265px) 100vw, 265px\" \/>\n\t\t\t<\/dt><\/dl><br style=\"clear: both\" \/>\n\t\t<\/div>\n\n<hr \/>\n<h3 style=\"text-align: center;\">Okay, do I just need a good bass and a filter pedal?<\/h3>\n<p>Well, those two elements make for a good base for slap technique but maybe it&#8217;s still not enough. It&#8217;s time to talk about <strong>amp heads<\/strong>. When it&#8217;s time to <strong>amplify<\/strong> the action that happens under your fingers the use of <strong>&#8220;clean&#8221;<\/strong> amplifiers is usually recommended. Two of the options that quickly come to mind are the <a href=\"https:\/\/www.thomann.de\/gb\/ampeg_svt3pro.htm\" target=\"_blank\" rel=\"noopener\"><strong>Ampeg SVT-3PRO<\/strong><\/a>, and its big brother, the <a href=\"https:\/\/www.thomann.de\/gb\/ampeg_svt_4_pro_basstopteil.htm\" target=\"_blank\" rel=\"noopener\"><strong>SVT-4<\/strong><\/a>. We are talking about <strong>hybrid heads<\/strong> with <strong>pre-valves<\/strong>. <strong>Ampeg<\/strong> is considered by many bassists as the brand that offers the best combination of <strong>power, performance<\/strong> and <strong>flexibility<\/strong> within its market range. They are often recommended for playing hard-rock and funk mainly because its main <strong>value<\/strong> is pure <strong>power.<\/strong> No more needs to be said. Another Ampeg that deserves our attention is the <a href=\"https:\/\/www.thomann.de\/gb\/ampeg_v_4b_bass_head.htm\" target=\"_blank\" rel=\"noopener\"><strong>V-4B<\/strong><\/a>, in this case, a head that works completely with <strong>valves<\/strong> and that stands out eminently for the <strong>quality<\/strong> and <strong>purity<\/strong> of its sound.<\/p>\n\n\t\t<style>\n\t\t\t#gallery-5 {\n\t\t\t\tmargin: auto;\n\t\t\t}\n\t\t\t#gallery-5 .gallery-item {\n\t\t\t\tfloat: left;\n\t\t\t\tmargin-top: 10px;\n\t\t\t\ttext-align: center;\n\t\t\t\twidth: 33%;\n\t\t\t}\n\t\t\t#gallery-5 img {\n\t\t\t\tborder: 2px solid #cfcfcf;\n\t\t\t}\n\t\t\t#gallery-5 .gallery-caption {\n\t\t\t\tmargin-left: 0;\n\t\t\t}\n\t\t\t\/* see gallery_shortcode() in wp-includes\/media.php *\/\n\t\t<\/style>\n\t\t<div id='gallery-5' class='gallery galleryid-383083 gallery-columns-3 gallery-size-medium'><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"159\" src=\"https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/Ampeg-SVT-3PRO--300x159.jpg\" class=\"attachment-medium size-medium\" alt=\"\" srcset=\"https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/Ampeg-SVT-3PRO--300x159.jpg 300w, https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/Ampeg-SVT-3PRO--768x408.jpg 768w, https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/Ampeg-SVT-3PRO-.jpg 800w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/>\n\t\t\t<\/dt><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"145\" src=\"https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/Ampeg-SVT-4PRO--300x145.jpg\" class=\"attachment-medium size-medium\" alt=\"\" srcset=\"https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/Ampeg-SVT-4PRO--300x145.jpg 300w, https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/Ampeg-SVT-4PRO--768x372.jpg 768w, https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/Ampeg-SVT-4PRO-.jpg 800w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/>\n\t\t\t<\/dt><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"194\" src=\"https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/Ampeg-V-4B-Bass-Head--300x194.jpg\" class=\"attachment-medium size-medium\" alt=\"\" srcset=\"https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/Ampeg-V-4B-Bass-Head--300x194.jpg 300w, https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/Ampeg-V-4B-Bass-Head--768x495.jpg 768w, https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/Ampeg-V-4B-Bass-Head-.jpg 800w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/>\n\t\t\t<\/dt><\/dl><br style=\"clear: both\" \/>\n\t\t<\/div>\n\n<p>Another magnificent option is the <a href=\"https:\/\/www.thomann.de\/gb\/aguilar_tone_hammer_500.htm\" target=\"_blank\" rel=\"noopener\"><strong>Aguilar Tone Hammer 500<\/strong><\/a>, a model often chosen by institutions such as <strong>George Porter Jr.<\/strong> or <strong>Paul Turner<\/strong> (<a href=\"https:\/\/open.spotify.com\/artist\/6J7biCazzYhU3gM9j1wfid\" target=\"_blank\" rel=\"noopener\"><strong>Jamiroquai<\/strong><\/a>&#8216;s bassist). Evidently, we are talking about a head that has the genuine Aguilar sound: <strong>deep bass<\/strong>, <strong>mids<\/strong> rich in <strong>nuances<\/strong> and <strong>trebles tremendously sweet<\/strong> and<strong> soft<\/strong>.<\/p>\n<p style=\"text-align: center;\"><a href=\"https:\/\/www.thomann.de\/gb\/aguilar_tone_hammer_500.htm\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-383560\" src=\"https:\/\/www.thomann.de\/blog\/wp-content\/uploads\/2222\/09\/Aguilar-Tone-Hammer-500-.jpg\" alt=\"\" width=\"438\" height=\"220\" srcset=\"https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/Aguilar-Tone-Hammer-500-.jpg 800w, https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/Aguilar-Tone-Hammer-500--300x151.jpg 300w, https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/Aguilar-Tone-Hammer-500--768x386.jpg 768w\" sizes=\"(max-width: 438px) 100vw, 438px\" \/><\/a><\/p>\n<p>This price range, <strong>between \u20ac500 and \u20ac1,000<\/strong>, offers other equally interesting options. We highlight three. The first is the <a href=\"https:\/\/www.thomann.de\/gb\/markbass_big_bang.htm\" target=\"_blank\" rel=\"noopener\"><strong>Markbass Big Bang<\/strong><\/a>. The Markbass Big Bang is often highlighted for the large number of features it offers despite being so small. Four band equalization, effects loop and direct output to the table with control level and EQ switch -in addition to auxiliary input, headphone output with control and pedal control of the VLE and VPF filters, something very demanded by bassists, are some of its features. The same thing happens with the <a href=\"https:\/\/www.thomann.de\/gb\/tc_electronic_rh_750.htm\" target=\"_blank\" rel=\"noopener\"><strong>TC Electronic RH750<\/strong><\/a>, a small but very powerful head, its 750 w and its Bass Amp 2.0 option are, surely, its best features. The third option in this price range would be the <a href=\"https:\/\/www.thomann.de\/gb\/fender_bassman_500_head.htm\" target=\"_blank\" rel=\"noopener\"><strong>Fender Bassman 500 Head<\/strong><\/a>, a hybrid head (2 12AX7 tubes in the preamplifier) of 500 w to 4 Ohms that stands out for the power and warmth of its sound.<\/p>\n\n\t\t<style>\n\t\t\t#gallery-6 {\n\t\t\t\tmargin: auto;\n\t\t\t}\n\t\t\t#gallery-6 .gallery-item {\n\t\t\t\tfloat: left;\n\t\t\t\tmargin-top: 10px;\n\t\t\t\ttext-align: center;\n\t\t\t\twidth: 33%;\n\t\t\t}\n\t\t\t#gallery-6 img {\n\t\t\t\tborder: 2px solid #cfcfcf;\n\t\t\t}\n\t\t\t#gallery-6 .gallery-caption {\n\t\t\t\tmargin-left: 0;\n\t\t\t}\n\t\t\t\/* see gallery_shortcode() in wp-includes\/media.php *\/\n\t\t<\/style>\n\t\t<div id='gallery-6' class='gallery galleryid-383083 gallery-columns-3 gallery-size-medium'><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"183\" src=\"https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/Markbass-Big-Bang--300x183.jpg\" class=\"attachment-medium size-medium\" alt=\"\" srcset=\"https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/Markbass-Big-Bang--300x183.jpg 300w, https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/Markbass-Big-Bang--768x468.jpg 768w, https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/Markbass-Big-Bang-.jpg 800w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/>\n\t\t\t<\/dt><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"92\" src=\"https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/TC-Electronic-RH750--300x92.jpg\" class=\"attachment-medium size-medium\" alt=\"\" srcset=\"https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/TC-Electronic-RH750--300x92.jpg 300w, https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/TC-Electronic-RH750--768x234.jpg 768w, https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/TC-Electronic-RH750-.jpg 800w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/>\n\t\t\t<\/dt><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"179\" src=\"https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/Fender-Bassman-500-Head--300x179.jpg\" class=\"attachment-medium size-medium\" alt=\"\" srcset=\"https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/Fender-Bassman-500-Head--300x179.jpg 300w, https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/Fender-Bassman-500-Head--768x457.jpg 768w, https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/Fender-Bassman-500-Head-.jpg 800w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/>\n\t\t\t<\/dt><\/dl><br style=\"clear: both\" \/>\n\t\t<\/div>\n\n<p>We finish this amp head section with two somewhat <strong>more expensive<\/strong> options, but which are tremendously <strong>worth it<\/strong><em>.<\/em> The first is the fruit of the 30th anniversary of the manufacturer\u00a0<a href=\"https:\/\/www.thomann.de\/gb\/ebs.html\" target=\"_blank\" rel=\"noopener\"><strong>EBS<\/strong><\/a>, and is the <a href=\"https:\/\/www.thomann.de\/gb\/ebs_hd_360_30st_anniversary_ed.htm\" target=\"_blank\" rel=\"noopener\"><strong>EBS HD-360 30st Anniversary Ed.<\/strong><\/a>\u00a0The head has the same features as the standard <strong>HD-360<\/strong> except for a different design and the possibility of selecting features of the <strong>EBS-350<\/strong> in the preamp. It also has a built-in<strong> compressor\/limiter<\/strong>, a <strong>four-band equalizer<\/strong> and a<strong> balanced XLR output<\/strong>. Its power is <strong>360 w RMS at 2 ohms<\/strong>.<\/p>\n\n\t\t<style>\n\t\t\t#gallery-7 {\n\t\t\t\tmargin: auto;\n\t\t\t}\n\t\t\t#gallery-7 .gallery-item {\n\t\t\t\tfloat: left;\n\t\t\t\tmargin-top: 10px;\n\t\t\t\ttext-align: center;\n\t\t\t\twidth: 50%;\n\t\t\t}\n\t\t\t#gallery-7 img {\n\t\t\t\tborder: 2px solid #cfcfcf;\n\t\t\t}\n\t\t\t#gallery-7 .gallery-caption {\n\t\t\t\tmargin-left: 0;\n\t\t\t}\n\t\t\t\/* see gallery_shortcode() in wp-includes\/media.php *\/\n\t\t<\/style>\n\t\t<div id='gallery-7' class='gallery galleryid-383083 gallery-columns-2 gallery-size-medium'><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"153\" src=\"https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/EBS-HD-360-30st-Anniversary-Ed.-300x153.png\" class=\"attachment-medium size-medium\" alt=\"\" srcset=\"https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/EBS-HD-360-30st-Anniversary-Ed.-300x153.png 300w, https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/EBS-HD-360-30st-Anniversary-Ed..png 734w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/>\n\t\t\t<\/dt><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"178\" src=\"https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/tc-electronic-Blacksmith-300x178.png\" class=\"attachment-medium size-medium\" alt=\"\" srcset=\"https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/tc-electronic-Blacksmith-300x178.png 300w, https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/tc-electronic-Blacksmith.png 633w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/>\n\t\t\t<\/dt><\/dl><br style=\"clear: both\" \/>\n\t\t<\/div>\n\n<p>The second is the\u00a0<a href=\"https:\/\/www.thomann.de\/gb\/tc_electronic_blacksmith.htm\" target=\"_blank\" rel=\"noopener\"><strong>tc electronic Blacksmith<\/strong><\/a>, a\u00a0<strong>1,600 w<\/strong>\u00a0amp admired for its <strong>precise tone control<\/strong> through <strong>semi-parametric four-band EQ<\/strong>. Other features that make the\u00a0Blacksmith a real gem are the <strong>TubeTone emulation,<\/strong> which allows you to generate any kind of <strong>texture<\/strong> in your sound, and the <strong>SpectraComp control,<\/strong> which provides a very subtle<strong> multi-band compression<\/strong>.<\/p>\n<div class=\"brlbs-cmpnt-container brlbs-cmpnt-content-blocker brlbs-cmpnt-with-individual-styles\" data-borlabs-cookie-content-blocker-id=\"youtube-content-blocker\" data-borlabs-cookie-content=\"PGlmcmFtZSB0aXRsZT0iVEMgRWxlY3Ryb25pYyBCbGFja3NtaXRoIC0gVG9uZSBDb250cm9scyIgd2lkdGg9IjUwMCIgaGVpZ2h0PSIyODEiIHNyYz0iaHR0cHM6Ly93d3cueW91dHViZS1ub2Nvb2tpZS5jb20vZW1iZWQvN0lwQ01RbzE1dk0\/ZmVhdHVyZT1vZW1iZWQiIGZyYW1lYm9yZGVyPSIwIiBhbGxvdz0iYWNjZWxlcm9tZXRlcjsgYXV0b3BsYXk7IGNsaXBib2FyZC13cml0ZTsgZW5jcnlwdGVkLW1lZGlhOyBneXJvc2NvcGU7IHBpY3R1cmUtaW4tcGljdHVyZTsgd2ViLXNoYXJlIiByZWZlcnJlcnBvbGljeT0ic3RyaWN0LW9yaWdpbi13aGVuLWNyb3NzLW9yaWdpbiIgYWxsb3dmdWxsc2NyZWVuPjwvaWZyYW1lPg==\">\n<div class=\"brlbs-cmpnt-cb-preset-c brlbs-cmpnt-cb-youtube\">\n<div class=\"brlbs-cmpnt-cb-thumbnail\" style=\"background-image: url('https:\/\/www.thomann.de\/blog\/app\/uploads\/borlabs-cookie\/2\/brlbs-cb-youtube-main.png')\"><\/div>\n<div class=\"brlbs-cmpnt-cb-main\">\n<div class=\"brlbs-cmpnt-cb-play-button\"><\/div>\n<div class=\"brlbs-cmpnt-cb-content\">\n<p class=\"brlbs-cmpnt-cb-description\">You are currently viewing a placeholder content from <strong>YouTube<\/strong>. To access the actual content, click the button below. Please note that doing so will share data with third-party providers.<\/p>\n<p> <a class=\"brlbs-cmpnt-cb-provider-toggle\" href=\"#\" data-borlabs-cookie-show-provider-information role=\"button\">More Information<\/a> <\/div>\n<div class=\"brlbs-cmpnt-cb-buttons\"> <a class=\"brlbs-cmpnt-cb-btn\" href=\"#\" data-borlabs-cookie-unblock role=\"button\">Unblock this content<\/a> <a class=\"brlbs-cmpnt-cb-btn\" href=\"#\" data-borlabs-cookie-accept-service role=\"button\" style=\"display: inherit\">Accept required service and unblock its content<\/a> <\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<hr \/>\n<h3 style=\"text-align: center;\">All right, now I&#8217;m ready, aren&#8217;t I?<\/h3>\n<p>Stop and think: What are you going to do with a head if you have no <strong>cabinet?<\/strong> Well, not much, frankly, especially if you want to play live. So, let&#8217;s talk about <strong>cabs.<\/strong> As we said before, once we&#8217;ve mastered the pedals, we need a head and a cab that provides, mainly, <strong>power<\/strong> and <strong>contrast.<\/strong> It is important that there is a balance between these two parameters: a combination that shakes the foundations of any stadium but delivers a sound flatter than a highway is of no use to us&#8230;<\/p>\n\n\t\t<style>\n\t\t\t#gallery-8 {\n\t\t\t\tmargin: auto;\n\t\t\t}\n\t\t\t#gallery-8 .gallery-item {\n\t\t\t\tfloat: left;\n\t\t\t\tmargin-top: 10px;\n\t\t\t\ttext-align: center;\n\t\t\t\twidth: 50%;\n\t\t\t}\n\t\t\t#gallery-8 img {\n\t\t\t\tborder: 2px solid #cfcfcf;\n\t\t\t}\n\t\t\t#gallery-8 .gallery-caption {\n\t\t\t\tmargin-left: 0;\n\t\t\t}\n\t\t\t\/* see gallery_shortcode() in wp-includes\/media.php *\/\n\t\t<\/style>\n\t\t<div id='gallery-8' class='gallery galleryid-383083 gallery-columns-2 gallery-size-medium'><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon portrait'>\n\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"243\" height=\"300\" src=\"https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/Markbass-Standard-104HF-4-Ohm--243x300.jpg\" class=\"attachment-medium size-medium\" alt=\"\" srcset=\"https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/Markbass-Standard-104HF-4-Ohm--243x300.jpg 243w, https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/Markbass-Standard-104HF-4-Ohm-.jpg 485w\" sizes=\"(max-width: 243px) 100vw, 243px\" \/>\n\t\t\t<\/dt><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon portrait'>\n\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"264\" height=\"300\" src=\"https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/Glockenklang-Take-Five-Neo-264x300.jpg\" class=\"attachment-medium size-medium\" alt=\"\" srcset=\"https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/Glockenklang-Take-Five-Neo-264x300.jpg 264w, https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/Glockenklang-Take-Five-Neo.jpg 527w\" sizes=\"(max-width: 264px) 100vw, 264px\" \/>\n\t\t\t<\/dt><\/dl><br style=\"clear: both\" \/>\n\t\t<\/div>\n\n<p>Both the <a href=\"https:\/\/www.thomann.de\/gb\/markbass_standard_104hf4_ohm.htm\" target=\"_blank\" rel=\"noopener\"><strong>Markbass Standard 104HF-4 Ohm<\/strong><\/a>, the <strong><a href=\"https:\/\/www.thomann.de\/gb\/glockenklang_take_five_neo_4x10_8_ohms.htm\" target=\"_blank\" rel=\"noopener\">Glockenklang Take Five Neo<\/a>\u00a0<\/strong>, the <a href=\"https:\/\/www.thomann.de\/gb\/tc_electronic_rebelstack_210.htm\" target=\"_blank\" rel=\"noopener\"><strong>tc<\/strong><\/a><br \/>\n<a href=\"https:\/\/www.thomann.de\/gb\/tc_electronic_rebelstack_210.htm\"><strong>electronic RS210<\/strong><\/a>\u00a0or the <a href=\"https:\/\/www.thomann.de\/gb\/tc_electronic_rs_410.htm\" target=\"_blank\" rel=\"noopener\"><strong>tc electronic RS410<\/strong><\/a>\u00a0are cabs which, within their own different characteristics, offer what we were aiming for: Sound quality.<\/p>\n\n\t\t<style>\n\t\t\t#gallery-9 {\n\t\t\t\tmargin: auto;\n\t\t\t}\n\t\t\t#gallery-9 .gallery-item {\n\t\t\t\tfloat: left;\n\t\t\t\tmargin-top: 10px;\n\t\t\t\ttext-align: center;\n\t\t\t\twidth: 50%;\n\t\t\t}\n\t\t\t#gallery-9 img {\n\t\t\t\tborder: 2px solid #cfcfcf;\n\t\t\t}\n\t\t\t#gallery-9 .gallery-caption {\n\t\t\t\tmargin-left: 0;\n\t\t\t}\n\t\t\t\/* see gallery_shortcode() in wp-includes\/media.php *\/\n\t\t<\/style>\n\t\t<div id='gallery-9' class='gallery galleryid-383083 gallery-columns-2 gallery-size-medium'><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon portrait'>\n\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"190\" height=\"300\" src=\"https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/tc-electronic-RS210-190x300.jpg\" class=\"attachment-medium size-medium\" alt=\"\" srcset=\"https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/tc-electronic-RS210-190x300.jpg 190w, https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/tc-electronic-RS210.jpg 380w\" sizes=\"(max-width: 190px) 100vw, 190px\" \/>\n\t\t\t<\/dt><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon portrait'>\n\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"251\" height=\"300\" src=\"https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/tc-electronic-RS410-251x300.jpg\" class=\"attachment-medium size-medium\" alt=\"\" srcset=\"https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/tc-electronic-RS410-251x300.jpg 251w, https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/tc-electronic-RS410.jpg 501w\" sizes=\"(max-width: 251px) 100vw, 251px\" \/>\n\t\t\t<\/dt><\/dl><br style=\"clear: both\" \/>\n\t\t<\/div>\n\n<hr \/>\n<h3 style=\"text-align: center;\">The eternal question: DI or mic&#8217;ing?<\/h3>\n<p>It&#8217;s the eternal question, yes. Let&#8217;s see. There are those who say that\u00a0<strong>DI<\/strong>\u00a0(Direct Input or Direct Injection) method, or using <a href=\"https:\/\/www.thomann.de\/gb\/di_boxes.html\" target=\"_blank\" rel=\"noopener\"><strong>DI boxes<\/strong><\/a>, is vital for the bass signal to come out absolutely <strong>clean,<\/strong> without being modified by any element. The function of the box is, in fact, to<strong> transform an unbalanced input signal into a balanced output signal<\/strong>. People who swear by mic&#8217;ing a bass amp argue that the signal obtained with the DI is quite <strong>sterile<\/strong> and <strong>impoverishes<\/strong> the sound. With the constant development of a wide range of bass heads, more and more people prefer mic&#8217;ing to DI. At the time of recording there is a third, widely used, option: <strong>Record both the DI signal and the mic&#8217;ed amp<\/strong> and then <strong>mix<\/strong>\u00a0to your liking. In this case, we must take into account the <strong>phase<\/strong> relationship of the two signals. Normally, the microphone signal arrives milliseconds later, which creates an <strong>offset<\/strong> that affects the overlapping signal. Again, there is no magic formula. It&#8217;s a matter of testing and adjusting until you reach the sound that you imagined.<\/p>\n\n\t\t<style>\n\t\t\t#gallery-10 {\n\t\t\t\tmargin: auto;\n\t\t\t}\n\t\t\t#gallery-10 .gallery-item {\n\t\t\t\tfloat: left;\n\t\t\t\tmargin-top: 10px;\n\t\t\t\ttext-align: center;\n\t\t\t\twidth: 50%;\n\t\t\t}\n\t\t\t#gallery-10 img {\n\t\t\t\tborder: 2px solid #cfcfcf;\n\t\t\t}\n\t\t\t#gallery-10 .gallery-caption {\n\t\t\t\tmargin-left: 0;\n\t\t\t}\n\t\t\t\/* see gallery_shortcode() in wp-includes\/media.php *\/\n\t\t<\/style>\n\t\t<div id='gallery-10' class='gallery galleryid-383083 gallery-columns-2 gallery-size-medium'><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"240\" src=\"https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/BSS-AR133--300x240.jpg\" class=\"attachment-medium size-medium\" alt=\"BSS AR133\" aria-describedby=\"gallery-10-384472\" srcset=\"https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/BSS-AR133--300x240.jpg 300w, https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/BSS-AR133-.jpg 749w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-10-384472'>\n\t\t\t\tBSS AR133\n\t\t\t\t<\/dd><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"270\" src=\"https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/MXR-M80-Bass-DI-Plus--300x270.jpg\" class=\"attachment-medium size-medium\" alt=\"MXR M80 Bass DI Plus\" aria-describedby=\"gallery-10-384473\" srcset=\"https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/MXR-M80-Bass-DI-Plus--300x270.jpg 300w, https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2222\/09\/MXR-M80-Bass-DI-Plus-.jpg 667w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-10-384473'>\n\t\t\t\tMXR M80 Bass DI Plus\n\t\t\t\t<\/dd><\/dl><br style=\"clear: both\" \/>\n\t\t<\/div>\n\n<hr \/>\n<h3 style=\"text-align: center;\">Conclusion<\/h3>\n<p>We said it at the beginning: the most important thing is in your <strong>fingers.<\/strong> That is the first commandment, not only when playing the bass, but <strong>any instrument.<\/strong> If you don&#8217;t know how to slap, don&#8217;t use filters, effects, heads and cabs: <strong>practice<\/strong> until you get <strong>calluses on your fingers.<\/strong> We would like to offer you a shortcut, but&#8230;it doesn&#8217;t exist. Once you&#8217;ve overcome that step, the rest comes naturally. As you&#8217;ve seen, there are plenty of tricks that will make it easier for you to get a certain sound (these are just some of the options, by the way, we don&#8217;t have the universal truth). After all, we&#8217;re talking about generating a very concrete sound, so, careful, this will take time. The good part is that <strong>it&#8217;s all up to you<\/strong>. It&#8217;s up to you to make your bass sound so funky that anyone listening can&#8217;t sit still!<\/p>\n<div class=\"advads-content-injection-before-content advads-entity-placement\" style=\"text-align: center;\" id=\"advads-3243329284\"><div class=\"advads-adlabel\">Advertisements<\/div><div id=\"advads-2795682795\"><a href=\"https:\/\/www.thomann.de\/intl\/index.html?utm_medium=display&#038;utm_source=partnersite&#038;utm_campaign=branding&#038;utm_content=thoshop&#038;utm_term=gemischt\" target=\"_blank\" aria-label=\"2502_Gear_Banner_Gemischt_729x90_EN_v01\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2025\/05\/2502_Gear_Banner_Gemischt_729x90_EN_v01.jpg\" alt=\"\"  srcset=\"https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2025\/05\/2502_Gear_Banner_Gemischt_729x90_EN_v01.jpg 728w, https:\/\/www.thomann.de\/blog\/app\/uploads\/sites\/3\/2025\/05\/2502_Gear_Banner_Gemischt_729x90_EN_v01-300x37.jpg 300w\" sizes=\"(max-width: 728px) 100vw, 728px\" width=\"728\" height=\"90\"   \/><\/a><\/div><\/div>","protected":false},"excerpt":{"rendered":"<p>That funky bass tone of the 1970s that simply makes you NEED to move. &#8220;How can I achieve it&#8221;, you ask? Read on for some tips&#8230;<\/p>\n","protected":false},"author":30,"featured_media":384495,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"tblog_post_audio_url":"","footnotes":""},"categories":[1083,10676,10720],"tags":[6803,9014,3837,7012,7010,9016,9018,2581,5810],"class_list":["post-383083","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-gear","category-inspire","category-learn","tag-amp-en","tag-amp-head","tag-bass-en","tag-bass-guitar","tag-electric-bass","tag-funk","tag-funk-tone","tag-pedals","tag-tone"],"category_colors":{"color_key":"gear","css_classes":{"text":"cat-gear","text_light":"cat-gear-light","bg":"cat-bg-gear","bg_light":"cat-bg-gear-light","border":"cat-border-gear","text_on_bg":"cat-text-on-gear"}},"reading_time":{"minutes":10,"formatted":"10 min"},"_links":{"self":[{"href":"https:\/\/www.thomann.de\/blog\/en\/wp-json\/wp\/v2\/posts\/383083","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.thomann.de\/blog\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.thomann.de\/blog\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.thomann.de\/blog\/en\/wp-json\/wp\/v2\/users\/30"}],"replies":[{"embeddable":true,"href":"https:\/\/www.thomann.de\/blog\/en\/wp-json\/wp\/v2\/comments?post=383083"}],"version-history":[{"count":0,"href":"https:\/\/www.thomann.de\/blog\/en\/wp-json\/wp\/v2\/posts\/383083\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.thomann.de\/blog\/en\/wp-json\/wp\/v2\/media\/384495"}],"wp:attachment":[{"href":"https:\/\/www.thomann.de\/blog\/en\/wp-json\/wp\/v2\/media?parent=383083"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.thomann.de\/blog\/en\/wp-json\/wp\/v2\/categories?post=383083"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.thomann.de\/blog\/en\/wp-json\/wp\/v2\/tags?post=383083"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}