TONEDB

bass guitar from “just can't be” by the flying burrito brothers | ToneDB

just can't be

the flying burrito brothers

bass guitar

88% ai confidence

Tone Profile

A warm, round, and supportive bass tone with a gentle thump, characteristic of late 60s country-rock. It provides a solid, clean foundation with good low-mid definition and a smooth, articulate character.

Signal Chain

Instrument: 1960s Fender Precision Bass

Amp: Ampeg B-15N Portaflex

Microphone: Electro-Voice RE20 (or similar dynamic like Sennheiser MD421, or a condenser like Neumann U67/U87)

Processing: Studio Console Equalization (e.g., API or Neve style), Optical Tube Compression (e.g., Teletronix LA-2A)

Other: Bass equipped with flatwound strings. Tone knob on bass likely rolled back (e.g., 50-75%). Mic placed a few inches from the speaker cone, possibly slightly off-axis. Potential blend with a Direct Input (DI) signal.

Recording Notes

  • Recorded at A&M Studios, Hollywood, California, known for its quality recording equipment in that era.
  • Chris Ethridge's playing style was melodic and supportive, typically using fingers rather than a pick.
  • The bass sound aimed for clarity and fullness, sitting well in the mix without being overly dominant.
  • Likely minimal effects used during tracking, with EQ and compression applied during mixing via the studio console and outboard gear.
  • The overall production aesthetic of 'The Gilded Palace of Sin' favored natural and warm instrument tones.

Recreation Tips

  • Use a Fender Precision Bass or a P-style bass.
  • String the bass with flatwound strings for a thumpy, vintage tone.
  • Play with your fingers, typically plucking over the pickup or slightly towards the neck for a rounder sound.
  • Roll the tone control on your bass down to about 50-75% to mellow the high frequencies.
  • Use a tube bass amplifier emulation or a physical tube amp like an Ampeg B-15 or Fender Bassman. Keep the gain relatively clean.
  • Apply light compression (e.g., an LA-2A style optical compressor) to even out dynamics and add sustain.
  • If EQing, consider a slight boost in the low-mids (around 150-300Hz) for warmth and body, and ensure the sub-bass isn't overwhelming.
  • A touch of tape saturation emulation can add to the vintage warmth if desired.

Sources