#1
Anybody know how to get Tim Commerford's tone (Rage Against the Machine, Audioslave)? That real growly tone he has on Evil Empire, Audioslave (the album) and Live at the Grand Olympic Auditorium? I have a sh*t for amp, and I know he has some crazy amp set-up with 3 Ampeg pro heads and Ampeg Cabs, but I have the J bass. So, by any chance, does anyone know how to get that tone with:

Gain
Low
Low Mid
High Mid
High

(no master volume, i have to use gain)

Thanks
#2
There's a settings thread ya know.
Gear:
Fender Standard Telecaster
Epiphone Les Paul Classic Plus Gold top
Ibanez RDGR bass
Kramer Focus111s
.88mm
Glass slide
#3
Well i once heard Tim custom winds his pick-ups and makes his own pedals to get that tone, i can get a very good Rage sounds from my warwick and ampeg setup... a amp will really help your tone...
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Quote by hendrixmusicman
whats IMO? like Emo? If imo is emo, then buddy, you can just shut up because im in the anti emo army. same with the veggies. I'm classic rock all the way.
#4
Quote by pink chili
Well i once heard Tim custom winds his pick-ups and makes his own pedals to get that tone, i can get a very good Rage sounds from my warwick and ampeg setup... a amp will really help your tone...



i have an amp, it just sucks, and only has knobs for gain, low, low-mid, high-mid, and high.
#5
"Tim mostly uses Fender Jazz basses, and Ampeg amplification. He uses several effects pedals, including two Jim Dunlop Cry Baby Bass Wah Wahs stuck together, Boss Super Chorus, and Aphex Compressors. Recently Tim began to tune BEAD and replaced the stock necks with left handed models.

His most famous tone, in Rage Against The Machine, was from his two Ampeg SVT-II Pro heads running into two separate Ampeg 8×10 cabinets. Into the first amp was his clean signal, in the second was his "dirty" signal. On the RATM album Evil Empire he used an original Marshall Guv'nor distortion pedal as his main distortion box."

Taken from Wikipedia. Don't forget: his jazzes are heabily modded as well!




See? That IS NOT a regular jazz.
#6
Tim's J-basses have Gotoh bridges, left-handed P-bass necks, Fender CS Pickups that are a replica of the 70's J-bass he destroyed at the last RATM show, and a finger ramp (lets him have more even string-to-string playing because tehre's somewhere to rest his hand).

I have no clue why he tore off some of his pickguard.
haha
#7
Another problem.

He made his pickups.

And that looks like a badass II, not a gotoh (judging by the saddles)
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#8
Actually, yeah, that one looks like a BAII, but the Bass Guitarist magazine said he uses Gotohs and the pictures of the ones on there looked like Gotohs.
haha
#9
He didn't "make" his pickups. He rewound them.
-Fender Deluxe Active P-bass (60th anniversary)
-Peavey T-40 (1982)
-Hartke HA-3500
-Aguilar GS 2x12
-GK Backline 2x10
#10
Bass Player said that he made them, but I'd trust you more.
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#12
Wll either way, it has BA saddles on it.

Why a left pbass neck though?
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#13
^ those are not BA saddles, those are "barrel" saddles =)
Commerford is a fan of deep hip-hoppish groove. P Bass neck is thicker, I dunno, maybe he finds in more comfortable. Plus more wood - more tone =) THe reason for the left-handed neck is because on fender necks the thickest (and floppiest) string is the closest to the bridge. If you drop D that... well, you get sag. By reversing the neck, your E string get the furthest from the bridge, making it more tense.

=)
#14
Its a BA, Bassilo.I know you know your stuff, but trust me here. just look at them.

http://www.guitarpartsresource.com/BPBAIIEA.JPG

http://i30.photobucket.com/albums/c337/galaxy0500/bass2.jpg

Look where the screw holes are, it all fits.
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#16
The neck thing is a good idea, and i think I have that magazine somewhere. I was just wondering if anyone knew how to get close to his tone without all that coustom pick-up winding and stuff.
#18
A little off topic, did anybody see his double neck Jazz bass with a left handed neck and a right handed neck, each with a telecaster headstock? It was naaaaaasty. I want one. Anyway, his tone is odd, on the older albums, there's a lot fo treble, especially when you consider he finger picks. If you want that tone, crank up the high mids and treble, keep your mids up, and turn your bass and low mids down a little. For his live sound, say, on Live at The Grand whatever it is (their last live show) His sound has more "meat" to it. It's deeper and has more bass and low end, but still that treble punch. For this sound i'd recommend getting yourself a Marshall Guv'nor (he also used some sort of Jimi hendrix fuzz pedal for distortion and a home-made distortion pedal he built from parts from an old wah pedal) and boosting the bass and dropping the mids/high mids and treble a just little bit. He also said in an interview he has his action set very high. Last, but not least, "pick as hard as you can without making it sound like sh*t" << That's one of Tim's quotes on his playing style.
-Fender Deluxe Active P-bass (60th anniversary)
-Peavey T-40 (1982)
-Hartke HA-3500
-Aguilar GS 2x12
-GK Backline 2x10
#19
Quote by Bassilo
^ those are not BA saddles, those are "barrel" saddles =)
Commerford is a fan of deep hip-hoppish groove. P Bass neck is thicker, I dunno, maybe he finds in more comfortable. Plus more wood - more tone =) THe reason for the left-handed neck is because on fender necks the thickest (and floppiest) string is the closest to the bridge. If you drop D that... well, you get sag. By reversing the neck, your E string get the furthest from the bridge, making it more tense.

=)


The lefty thing is a bit of a mind-over-fact thing. It doesn't make it any easier or tighter or whatever. Once it reaches the nut where the string goes doesn't matter. Now, a 35" scale neck will have a tighter B than a (badly) constructed 34" nck, but the lefty thing isn't true at all.

It just looks cool.
haha
#21
Quote by Bassilo
^ THat's what he said in an interview


I've heard a lot from major physics dude about that being wrong, but hey if it's good for Timmy C, who am I to say it sucks?
haha
#22
To tell the truth, I've tried the concept out on my bass (headstock parallel to fretboard). The A string is the furthest away, and if you press on a portion of it after the nut, the entire string moves easily... Maybe it isn't true for those tilt-headed basses (Warwick, Ibanez), but as for fenders, Rays, and such - i dunno.

#23
Quote by hatebreed219
A little off topic, did anybody see his double neck Jazz bass with a left handed neck and a right handed neck, each with a telecaster headstock? It was naaaaaasty. I want one. .


I've seen that, the black and red one tuned BEAD and EADG? If I ever have a spare $5,000-$10,000, thats where it's goin.
#24
Made by the Fender custom shop=big bucks I'm sure. Rewinding your pickups is supposedly a very tedious job, takes a very long time and a lot of attention to detail. But if done right it's an awesome mod, and it's free.
-Fender Deluxe Active P-bass (60th anniversary)
-Peavey T-40 (1982)
-Hartke HA-3500
-Aguilar GS 2x12
-GK Backline 2x10
Last edited by hatebreed219 at Jun 4, 2006,
#25
How did you guys find out all this stuff about his rig, I've been looking for so long, and I'll I've found is him and his rguitar tech talking about the coolness of his distortion, and his custom pedals

Member Q-Tron of the EHX Users Guild
#26
Quote by SWiB
I've seen that, the black and red one tuned BEAD and EADG? If I ever have a spare $5,000-$10,000, thats where it's goin.


Warmoth do a double neck strat / p-bass. I think they would custom do a double Jazz that wouldn't cost a huge amount.

If i were to do it thought id do the bottom one BEAD and the high one ADGC or DGCF to get more range.
#27
Amps/Rack Gear:
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Tim Commerford uses a tiered amp system live. One Ampeg SVT-2PRO feeds a full-range clean signal into an Ampeg 8x10. The other two Ampeg SVT-2PRO heads feed two incrementally greater levels of dirty tone to Ampeg 4x10 cabs. The full-range rig runs all the time and Commerford switches in the distortion rigs for an even bigger sound.


Pedals
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Commerford conceals much of his pedalboard, which includes a few homemade devices, but the visible effects include an Aphex Punch Factory, MXR Micro Amp, and two Dunlop 105QCrybaby Bass Wahs with a wood plate for two-at-a-time tweaking.


So, obviously, Tim is a wiring genius, and a tone freak. Good luck.
#28
The package of Ernie Ball Bass Super Slinks today advertise Timmy on the back as a user of their strings, though I've heard different things from different people. Does he only use them for song basses, or did use them at a certain time?
#29
Whatever, hes a kick ass bassist and ge can deliver some sweet tones out of his rig. I would kill to find out whats on the controal board of his bass.
#30
Quote by soul_power
Whatever, hes a kick ass bassist and ge can deliver some sweet tones out of his rig. I would kill to find out whats on the controal board of his bass.


Here here! One hell of a bassist
#32
I can assure you that you will never get his tone. As said abvove, he is a wiring genius and a tweaking freak. As far as he is concerned, he has found the holy grail!
#33
He said in an interview he wouldn't reveal too much about his rig and tone because he's been working for years to get it just right.
-Fender Deluxe Active P-bass (60th anniversary)
-Peavey T-40 (1982)
-Hartke HA-3500
-Aguilar GS 2x12
-GK Backline 2x10
#34
Judging by all the homemade stuff in his setup, if he werent a great bassist, he'd be the best roadie ever.
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#35
Quote by hatebreed219
He said in an interview he wouldn't reveal too much about his rig and tone because he's been working for years to get it just right.


Exactly. Anyway, people should be trying to create their own tone, not copying what someone else has done. there must be a thread a week saying How do i get XXXX tone on XXX. who gives a ****! unless you are filling in for Tim or Flea on tour, why waste time trying to find their tone.

if you're doing covers, the average shmo on the street wont know any different anyway.

but if you find it, let me know please