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OT: Matt Sharp bass sound on Pinkerton


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This is pretty far off topic but someone here might be able to offer some insight here. The bass sound on Pinkerton is one of my favorites of all time, and I'm wondering if it would be possible to use an eq to get a decent approximation. If so, which frequencies would you boost/cut etc... A guy I'm playing with is running a jazz bass through an svt classic. The closest I've ever gotten was running a buddy's 70s ampeg v4 about half way up through an 8x10 cab, but I don't have access to that amp anymore sadly. Thanks in advance

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Matt started out in Weezer with some gear that he later called "awful and embarrassing". His amp (actually a perfectly good amp) was a Gallien-Kruger 800RB (same as Mikeys first amp, by the way). He had it since he was a teenager and it served him well right up through the mid 90's Rentals era. Where it is today is unknown. His first cabinet was a P.A.S. 2 piece cabinet, with the 18" speaker in one unit and the 2x10" in a separate part. This was a bad cabinet. It sounded crappy. Once signed, Matt got a new cabinet, a vintage 1968 Ampeg SVT 8x10". this was before they had wheels and good handles, so we mounted casters to the bottom. He got it for a bargain $300. He also got a new main amp, a vintage 1967(?) 200 Watt Orange 'Matamp'. However this did not end up on the Blue Album due to its constant fuse popping (later we figured out that it needed a bigger size fuse than what it said on the back). We rented a wonderful Ampeg B-15 'pop top' that was brought in, and it was the bomb. The signal was run pretty clean for the whole album, except for some mild distortion added (through an unknown non-pedal means) on "In The Garage".

 

Later, in 1995, Matt got a second Orange 'Matamp', which was very similar to the '67, except it was from approx 1975. It looked almost new, but this was before they started re-issuing them, so we knew it was old.

 

on 'pinkerton' and on stage for later weezer tours and Rentals tours, Matt went back to the GK, with a Sovtek Big Muff pedal for distortion, and used the Orange just for recording clean sounds and for a back-up. Eventually both Oranges were severely damaged- the '67 from the "Rhino Lad" incident during a '97 show in Richmond Virginia (more on this later), and the '75 from a bad freight shipping incident. Their whereabouts and current condition are unknown.

 

Matt's first bass in Weezer was a holdover from earlier times, a 5 string Hamer "Chapparel", with the paint stripped off and the whammy bar removed. He soon dumped this unceremoniously and returned to his old teenage bass which was slightly more ready to rock: a Hamer "Explorer" style bass, whose model name is unknown. He painted it crazy swirly green and glued cut out "w-e-e" letters all over it, which were clipped from extra weezer show flyers. Later this bass was traded away for an amazing bass neck made by Warmouth. Later still one of the 'explorer horns' was chopped clean off. (see photo). Before the trade, Matt went through a number of borrowed basses, trying to get closer to what he wanted. He used a cheap black Squire Jazz bass copy (Rivers's), an early 60's sunburst Fender P-Bass (Justin's of Nerf Herder), and a Gibson Ripper (Brian's, of Black Market Flowers).

 

Matt then bought a new Jerry Jones hollow body 'longhorn' bass, in celeste green. Unfortunately he soon found out that it wasnt useful in live performance, as it wasnt possible to intonate it to "E Flat" tuning, and thus had to be tuned to E Flat 'against its will'. So it went out of tune fast. This is when Matt made the trade for the Warmouth neck. This is a Telecaster Bass style neck, but a little different. A similar but not identical model is still made, but this particular one was an early model and made from a very interesting swirly kind of darker wood, that newer ones just dont have. Though the trade recipient got the whole explorer Hamer for the neck, he was still quoted as saying "youre ripping me off!". The neck was that nice! This neck was grafted onto a vintage black Fender Jazz Bass body he got as a gift from Johnny of El Magnifico. Matt got some Scheckter pickups and the "Frankenstein" bass was complete.

 

After getting signed, Matt got a rare Fender Telecaster bass from the early 70's. This one didnt work out too well. "Too much low end", said Matt. "It just sounded like a big fart". It was sold. Then Matt tried to replicate the black bass, which was quickly becoming established as an extremely cool bass. He failed, but came as close as anyone could come: (blue album people take note) He bought a brand new mexican made blue fender Jazz bass, replaced the neck with a new Telecaster bass Warmouth model, and popped in some new Scheckter pickups. This became his back up touring bass, and the black and blue "hybrids" were his 2 weezer basses till he left the band. The black bass appears on both the Blue Album and Pinkerton.

 

Additionally, in 1996, Matt bought a white vintage Music Man bass, which saw use on about 1/3rd of a typical show's set from then on.

 

Matts strings were GHS Bass Boomers, in .50-.70.-.95.-.115, and he used .80mm "big style" Clayton USA picks.

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I know he used a green muff and an orange head, but I'm trying to figure out what gave it that really growling sound. I'll try posting in the bass forum, but I don't know what a lot of people in there are really into, whereas there seems to be in here that were/are into the first couple of weezer albums.

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Matt started out in Weezer with some gear that he later called "awful and embarrassing". His amp (actually a perfectly good amp) was a Gallien-Kruger 800RB (same as Mikeys first amp, by the way). He had it since he was a teenager and it served him well right up through the mid 90's Rentals era. Where it is today is unknown. His first cabinet was a P.A.S. 2 piece cabinet, with the 18" speaker in one unit and the 2x10" in a separate part. This was a bad cabinet. It sounded crappy. Once signed, Matt got a new cabinet, a vintage 1968 Ampeg SVT 8x10". this was before they had wheels and good handles, so we mounted casters to the bottom. He got it for a bargain $300. He also got a new main amp, a vintage 1967(?) 200 Watt Orange 'Matamp'. However this did not end up on the Blue Album due to its constant fuse popping (later we figured out that it needed a bigger size fuse than what it said on the back). We rented a wonderful Ampeg B-15 'pop top' that was brought in, and it was the bomb. The signal was run pretty clean for the whole album, except for some mild distortion added (through an unknown non-pedal means) on "In The Garage".


Later, in 1995, Matt got a second Orange 'Matamp', which was very similar to the '67, except it was from approx 1975. It looked almost new, but this was before they started re-issuing them, so we knew it was old.


on 'pinkerton' and on stage for later weezer tours and Rentals tours, Matt went back to the GK, with a Sovtek Big Muff pedal for distortion, and used the Orange just for recording clean sounds and for a back-up. Eventually both Oranges were severely damaged- the '67 from the "Rhino Lad" incident during a '97 show in Richmond Virginia (more on this later), and the '75 from a bad freight shipping incident. Their whereabouts and current condition are unknown.


Matt's first bass in Weezer was a holdover from earlier times, a 5 string Hamer "Chapparel", with the paint stripped off and the whammy bar removed. He soon dumped this unceremoniously and returned to his old teenage bass which was slightly more ready to rock: a Hamer "Explorer" style bass, whose model name is unknown. He painted it crazy swirly green and glued cut out "w-e-e" letters all over it, which were clipped from extra weezer show flyers. Later this bass was traded away for an amazing bass neck made by Warmouth. Later still one of the 'explorer horns' was chopped clean off. (see photo). Before the trade, Matt went through a number of borrowed basses, trying to get closer to what he wanted. He used a cheap black Squire Jazz bass copy (Rivers's), an early 60's sunburst Fender P-Bass (Justin's of Nerf Herder), and a Gibson Ripper (Brian's, of Black Market Flowers).


Matt then bought a new Jerry Jones hollow body 'longhorn' bass, in celeste green. Unfortunately he soon found out that it wasnt useful in live performance, as it wasnt possible to intonate it to "E Flat" tuning, and thus had to be tuned to E Flat 'against its will'. So it went out of tune fast. This is when Matt made the trade for the Warmouth neck. This is a Telecaster Bass style neck, but a little different. A similar but not identical model is still made, but this particular one was an early model and made from a very interesting swirly kind of darker wood, that newer ones just dont have. Though the trade recipient got the whole explorer Hamer for the neck, he was still quoted as saying "youre ripping me off!". The neck was that nice! This neck was grafted onto a vintage black Fender Jazz Bass body he got as a gift from Johnny of El Magnifico. Matt got some Scheckter pickups and the "Frankenstein" bass was complete.


After getting signed, Matt got a rare Fender Telecaster bass from the early 70's. This one didnt work out too well. "Too much low end", said Matt. "It just sounded like a big fart". It was sold. Then Matt tried to replicate the black bass, which was quickly becoming established as an extremely cool bass. He failed, but came as close as anyone could come: (blue album people take note) He bought a brand new mexican made blue fender Jazz bass, replaced the neck with a new Telecaster bass Warmouth model, and popped in some new Scheckter pickups. This became his back up touring bass, and the black and blue "hybrids" were his 2 weezer basses till he left the band. The black bass appears on both the Blue Album and Pinkerton.


Additionally, in 1996, Matt bought a white vintage Music Man bass, which saw use on about 1/3rd of a typical show's set from then on.


Matts strings were GHS Bass Boomers, in .50-.70.-.95.-.115, and he used .80mm "big style" Clayton USA picks.

 

I've seen that on the weezer site for years, and he may have used an 800rb on some tracks, but you can clearly see the orange head in some of the pinkerton recording footage on the weezer dvd.

 

The bass on the record has a really distinct boosted mids-tone to it, and that is really what I'm trying to figure out - where those mids are

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  • 3 months later...
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THE RENTAL FIRST ALBUM - EVERY SINGLE SONG IS PLAYED WITH A VERY VERY DISTINCT PEDAL. Its not A EHX (great website - SUPERB PEDALS) EHX.com - that person was on to something but that pedal was NOT avaiable and besides - I have it - that's not it. I'm Gigging artist.. I want to keep that to myself - but SOMEONE out there has got to know that the RENTALS 1st ALBUM was GROUND BREAKING. The BASS Pedal - he used is a mystery. Its not a BIG MUFF.. its probably a combination - but I'd a musciciion and its not uncool to call and ask the guy what pedal he uses - someone has to know out there. The reason you like The BLUE weezer album - because every song is good from begging to end anbd MATT SHARP was 80% WEEZER. He was the leader - and left. That is why they can't make any good music anymore. DOPE, GIRLS, BOSTON BARS and STUCK UP HARVARD EGOs ruined what could have been a BEATLES like band.. Instead they all freakn hate eachother after one hit album.

 

Does anyone know Matt's Pedal sound on the FIRST RENTALS ALBMUM and a lot of the WEEZER stuff? I would REALLY liek to know and so would a LOT of other musichins and bass players out there... PLEASE - SAMPLE THE SOUNDS AND SHARE YOUR BRILLIANCE- PLEASE - I'll make it worth your trouble if you are a master researcher and genius at this stuff...

 

Thanks Everyone - Hope this doesn't linger for months. Our Band Blog is Out of Control - but USEFUL blogs are friggn torture!

 

NEED A HINT... FRIENDS OF P - THE RENTALS. THE BASS SOUND THERE IS VERY CLEAR - no SYNTH at ALL. This is MUFF, Distortion, and something else...combo of pedals or just one... but he almost NEVER changes the setting...and that MEET THE RENTALS is by far BETTER then ANY ALBUM WEEZER - Post MAtt Sharp has made....At All. The Blue Album weezer and the Rentals debut are GOLD TREASURE. BUT WHAT's THE DAMN PEDAL?

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I agree with you hive, from what I know about this album, they didn't have a producer, recorded some at Electric Ladyland, and focused on drum and guitar sounds specifically...

 

by the way... El Scorcho.. one of my only cover songs I play

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I agree with you hive, from what I know about this album, they didn't have a producer, recorded some at Electric Ladyland, and focused on drum and guitar sounds specifically...


by the way... El Scorcho.. one of my only cover songs I play

 

we love to play el scorcho, great chorus to get the crowd singing along.

 

pinkerton is a seriously awesome record.

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Pinkerton's easily my favourite ever album. And to the douche with the white shites avatar, the sound is a green sovtek big muff. I know, I have one, it sounds exactly like it. This pedal wans't used in the blue album though, just ROTR and Pinkerton.

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Now that we got that out of the way.. Let's talk about the DRUM TONE on that album.. Fucking HUGE!


Possibly my favorite drum tones ever. Dude really beats the fuck out of his drums on that album.

 

Favorite drum tones and bass tones. There's a name for the way they recorded the drums, which i can't remember, but they were completely on to something there

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The guitar is a HH Strat into a marshall right?

 

apparently thats only what he used live. on the record I believe there was a whole lot of les paul p-90 action. And the occasional tele (intro to el scorcho, for example).

 

Something like this..

 

gibsonLesPaulJr.jpg

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There's some footage on the video capture device dvd of them recording the album. In a few shots, it looks like Rivers is playing a les paul standard or custom, you can only see it from behind but there is binding on it. I think Bryan Bell used that late 60s tele thinline almost exclusively on it. All of the bass sounds are that warmoth jazz bass with the telecaster bass neck on it.

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Now that we got that out of the way.. Let's talk about the DRUM TONE on that album.. Fucking HUGE!


Possibly my favorite drum tones ever. Dude really beats the fuck out of his drums on that album.

 

the whole album is huge.. and raw!! Its my favorite production. And they did it themselves :thu:

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