![]() So, you end up with 10 independent controls on the BMS. ![]() It features a 2-pole resonant filter, 4 different voices to be mixed and matched (including my favorite, the sub octave…you know, to give the crowd the “brown notes”), start/stop frequency sliders for control over the filter sweep, and an attack time control for fading notes in and out. The BMS is all analog design, optimized for the bass guitar. Surprise, surprise…many of the sounds I was looking to get were coming from his Bass Micro Synth. Right around that same time, I finally got a look at what kind of pedal setup was being used by Owen Biddle (formerly of The Roots) with his incredibly experimental group, Mister Barrington. The keyboard player was doubling it with me, but that was leaving a number of the other keyboard flourishes unattended. Playing a song like “You Dropped A Bomb On Me” just doesn’t work without the bass riff being played correctly. How cool is that?! I got especially excited about this product as I was needing to play a lot of Prince and Gap Band stuff on a gig I was doing at the time here in Nashville with Terry Greene & The Undercovers. The Bass Micro Synth is a true analog synthesizer controlled by your bass guitar. If you’re just out making it happen in the clubs, there is no better way to go than the Electro-Harmonix Bass Micro Synth. ![]() If you get the bass gig with Ne-Yo, then yes, you’re probably going to have to learn to play keyboard bass so that you can use the exact patches from the record. Today’s pop music contains just as many sonic challenges as the music of the Gap Band, Michael Jackson, Prince, etc. If you want to get your sound closest to the records, there’s a lot of stuff that you may need to be using. One of the gigs that makes a bass player cringe most in terms of authentic sound production is a decades-spanning Top 40 pop gig. ![]()
0 Comments
Leave a Reply. |