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bass guitar from “hysteria” by muse | ToneDB

hysteria

muse

bass guitar

95% ai confidence

Tone Profile

An iconic, massively saturated bass tone achieved by blending multiple fuzzed amp signals with a clean DI. It's characterized by an aggressive, synth-like saw-tooth fuzz, articulate pick attack, and immense low-end power.

Signal Chain

Instrument: Pedulla Rapture RB5 (Drop D tuning: DADG)

Amp: Marshall DBS 7400 (driving a Marshall 8x10 bass cabinet)

Microphone: Neumann U47 FET

Processing: Human Gear Animato

Other: Signal split from main bass output. This path provides the primary aggressive, cutting fuzz character. Blended with other signal paths.

Recording Notes

  • The sound is a blend of at least three signals: a clean DI, an amp path with a Human Gear Animato, and another amp path with a modified Sovtek Russian Big Muff.
  • Producer Rich Costey used a Neumann U47 FET to mic both the Marshall DBS7400 (with Marshall 8x10 cab) and the Ampeg SVT.
  • The Sovtek Russian Big Muffs were reportedly modified; one for enhanced high-end, another for low-end. For 'Hysteria,' one of these was used with the Animato.
  • Chris Wolstenholme used a pick, contributing to the aggressive attack and articulation.
  • The bass guitar was tuned to Drop D (DADG).
  • Extensive signal splitting (via a splitter box) and blending of these parallel paths at the mixing console was crucial to achieve the final sound.

Recreation Tips

  • Use a high-output bass, preferably with active electronics, tuned to Drop D (DADG).
  • Employ a signal splitter (e.g., Radial Shotgun, Boss LS-2 in A+B Mix mode) to send your bass to at least three paths: two distinct fuzz chains and one clean DI.
  • Path 1 (Aggressive Fuzz): Human Gear Animato (or a clone like Cog Effects T-65, ZVex Woolly Mammoth) into a powerful, clear amp.
  • Path 2 (Secondary Fuzz): Sovtek Russian Big Muff Pi (Green or Black, or a reissue) into another amp, perhaps with a different character (e.g., Ampeg SVT).
  • Path 3 (Clean): Direct Input signal.
  • Use a small mixer or a DAW to blend these three signals. The Animato path should provide the main bite, the Big Muff path adds body and a different fuzz color, and the DI maintains low-end definition.
  • A noise gate after each fuzz pedal or on the combined fuzz bus is highly recommended to manage noise.
  • Play with a pick, aggressively and consistently, often closer to the bridge for more attack.
  • EQ each signal path individually before blending to sculpt the overall tone and ensure it cuts through the mix, particularly boosting upper mids (800Hz-1.5kHz) on the fuzz channels.

Sources