Tone Profile

A heavily distorted and vocal bass tone that functions as both a rhythm and lead instrument, characterized by a prominent midrange, aggressive pick attack, and expressive wah-filter sweeps.

Production Credits

Signal Chain

Recording Notes

• The core of the sound is the fuzz from the Morley pedal combined with the overdriven Mesa/Boogie tube amp.
• A pick was used, and the playing style is aggressive, contributing significantly to the clanky attack and treble content.
• The wah pedal was not just used for sweeping effects but was often 'parked' in a specific position to act as a powerful EQ filter, boosting certain midrange frequencies to help the bass cut through the dense guitar tracks.
• The blend of a miked cabinet and a clean DI signal was crucial for maintaining low-end definition while allowing the top-end to be heavily distorted and processed.
• The Aria Pro II's active electronics provided a strong, bright signal that was ideal for driving the effects pedals and amp head hard.

Recreation Tips

• Start with a bass with active pickups if possible. Use a pick and play closer to the bridge for a brighter, more aggressive attack.
• A key component is a vintage-style fuzz pedal (like a Big Muff or a dedicated Morley Fuzz Wah) placed before a wah pedal.
• To simulate the bi-amp rig without two amps, use a pedal like a Boss LS-2 Line Selector or an EQ pedal with a blend knob. This allows you to mix your clean bass signal back in with the distorted signal to retain low-end clarity.
• Boost the high-mids (around 800Hz - 2kHz) on your amp or an EQ pedal to achieve the signature 'clank' and presence.
• For the melodic solo section, use the wah pedal for long, slow, and expressive sweeps to give the notes a vocal-like quality.

Original Gear

• Aria Pro II Cliff Burton Signature SB-Black'n Gold I(guitar)
• Morley Cliff Burton Fuzz Wah(pedal)
• Electro-Harmonix Russian Big Muff Pi(pedal)
• Mesa/Boogie Subway D-800+(amp)
• Ampeg SVT-CL(amp)
• Electro-Voice RE20(mic)
• Ibanez Tube Screamer TS9(pedal)