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Distorted Tone
John the Fisherman
Primus
Bassprog1990s
Original Gear
BassCarl Thompson 4-string (custom, likely walnut or maple, passive)
AmpMesa/Boogie Bass 400+ head into Mesa/Boogie 2x15 and/or Ampeg SVT-810E 8x10 cabinet
Amp Settings
gain6.5
bass5.5
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Notes
Studio recording, 1989-1990 (Frizzle Fry sessions); Les Claypool is known to have used his Carl Thompson 4-string and Mesa/Boogie amps for this era. Ampeg SVT cabs are also documented for this period.
Tone Character(9)
clanky attackmidrange growlaggressive upper midsaudible tube overdriveslight fuzzinesstight low endpercussive slap transientsraspy, metallic edgeclear note definition despite drive
Difficulty
The song demands rapid alternation between slap, fingerstyle, and chording, with intricate syncopation and muting. The aggressive attack and dynamic control required for the distorted sections make it technically challenging.
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Create Free AccountBassprog1990s
Original Gear
BassCarl Thompson 4-string (custom, likely walnut or maple, passive)
AmpMesa/Boogie Bass 400+ head into Mesa/Boogie 2x15 and/or Ampeg SVT-810E 8x10 cabinet
Amp Settings
gain6.5
bass5.5
Create an account to see all tone details
Create Free AccountEffects & Signal Chain
Notes
Studio recording, 1989-1990 (Frizzle Fry sessions); Les Claypool is known to have used his Carl Thompson 4-string and Mesa/Boogie amps for this era. Ampeg SVT cabs are also documented for this period.
Tone Character(9)
clanky attackmidrange growlaggressive upper midsaudible tube overdriveslight fuzzinesstight low endpercussive slap transientsraspy, metallic edgeclear note definition despite drive
Difficulty
The song demands rapid alternation between slap, fingerstyle, and chording, with intricate syncopation and muting. The aggressive attack and dynamic control required for the distorted sections make it technically challenging.