The Gothic Bass sound of Peter Steele. What makesType O Negative so different? Goth Broth.

Great insight on Peter's tone. One thing I did learn from Johnny Kelly (And Kenny also chimed in) when I had opporrunity to meet him once ( Met Johnny a few times actually, Great guy and mosnter drummer) is that Peter would in fact have two rigs set up when recording and would sometimes use a Radial or Tech 21 switcher with a Sansamp on one rig to dial it in more precisely. Also he would typically double or triple track (not copy and paste the DI) and he and Josh would usually mute the track with the most low end during mixing as they wanted the kick drum to dominate the bottom of the song and the bass guitar to sit moreso between the drums and low end of the guitars in the frequency spectrum. Even though I always kind of cringed at their mixes sometimes I in hindsight understand why (In a way lol). Also since they tuned to B Standard on normal 4 and 6 strings, hacking out most of the low end was deemed to help keep everything from becoming too muddy and mushy. I did get the chance to see Type O live once and their live mix was much more even and "full" sounding and IMO sounded phenomenal. But, Again even though I have to admit I wasn't always a fan of their album mixes I could sort of understand the intent. Plus, It did certainly give the band a unique sonic character. Great band, Great songs and sorely missed. Also, You're not wrong on your views of Rock and Metal, There are still gems here and there, But it has been declining steadily in the last decade at least. The onset of DAWs and programmed instruments (gridded and edited nauseatingly to "perfection") has certainly played a role. Plus people's perception of music as an art form has been almost completely replaced as just a commodity. Little lyrical or musical content, Very little effort in writing and arranging Almost all effort focused toward production, loudest mix possible with few dynamics, And generally just very foruliac and uninteresting Plus the industry obviously is much less interested in cultivating a band's career or growth as there's supposedly less resources to spend, Though labels, platforms, venues, promoters et al still tend to carve out more for themselves than even before (in a lot of cases) leaving musicians with even less financially than in the past. There's very little incentive in any sense to be willing to sacrifice so much, in order to recieve little to nothing in any form a lot of the time. I'm sure many will try to refute or contest everything I've stated, But I seriously doubt I'm wrong. I've been involved in two eras of the music industry, Both as a recording and touring band member, And as a writer. I was signed to two indie labels (One distributed by Sony) in the early 90's. And re entered the musical landscape again in 2009, After many things in the industry had changed drastically. And though my views are strictly my own, I do have the vantage point of seeing how things were versus how they were a few years back (I stopped in late 2016). And even though there was tons of pitfalls and bullshit in the industry then, It's not impossible but damn near to earn any lasting success or even a living now. Ok, longwimded blabbering over. Cheers Owen, Great one yet again. 🍻

I remember asking my guitar instructor over 20 years ago how to get Type O Negatives tone and he just said “I have no idea…” and he just moved on with the lesson 😂

As far as the "digitalization" of metal sucking the life out of it, you are correct. I'm a tube rack guy and a tube amp head pedalboard guy, and as painful as that is, it is the "life" in the sound.

Creepy green light.. what a bassline. Thanks for this Owen. Loved it

So glad i got to see a TYPE O live . They opened for Fear Factory . An amazing show.

This was very accurate. Peter used hot glue to keep his DS1 settings from moving. This was the key to him. Also, on stage he used a Peavey Kilobass amp which has two separate power amp circuits. (it wasn't custom, it was off the shelf) This might have allowed him to pull off the clean/dirty channels live. I've recreated this effect with that gear, so, it's possible that you're right about that. I suspect (recall hearing) that he used the Peavey Max pre-amp in the studio which is the front end of the Peavy T-Max amp without a power cell. The Peavey T-Max amp was billed at the time as one half (one cell) of a Kilobass, so that front end pre-amp probably delivered his tone in the studio. Don't underestimate the impact of this amp on the TON sound. There's something to it. Also, he used a Fernandes Sustainiac pick up, probably two, to get that crazy sustain. I suspect that he had that carried over into his three Washburn guitars that he used toward the end. He had them built in the custom shop so it's hard to say what he had put in there.

- He used real amps to create musical feedback - Ok - He also made frets buzz -Oh no, wait a minute

One important note is that the bass is tuned BEAD but the string gauges were 110-90-70-50 so he was basically using very light gauge strings, kinda like Mark King but in B 😊

Nice to see Goth Broth back on the channel.

Seen Pete rip out his bass strings at the end of their set. Monster of a guy.

Feedback wise Peter used a modified fernandes sustainer system installed in his basses. So he could control it in the studio and live since he was tied to a mic stand to sing. Also he had a bass that was made a longer scale cuz he was damn near 7 foot. R.i.p. Pete you got alot of people thru their darkest times in life showing us we weren't alone in suffering. Awesome how u didn't leave out how he was left handed and played right handed, props for that 🤘

Just about everything with steel stands out his tone, writing, and definitely his voice! A true one of a kind RIP 💚

8:33 I'm left handed and I LOVE this fact! So many teachers will say the same ignorant thing: "You need to play right handed. You'll be a much player for it. In fact, all us right handers should be playing lefthanded guitars, because picking is easy, fretting is the hard part" YOU R3TARDS! NO! Picking is the hard part! Fretting only seems hard because you're using you're far, far, faaar weaker hand! And that's not muscularly weaker; it's the hand brain connection that's shit. I know one insanely accomplished lh player who plays right-handed, and he says he thought he just didn't have good time, until someone handed him a lefthanded guitar in a shop and asked him to try it out. Not only was he immediately able to play it kinda well, but his rhytm playing was instantly tighter. Now he records rhythm parts lefthanded. Peter Steele found the über-male solution though 😃 holy shit

0:08 You could have called me as I took this pic of Pete's pedal board at a Carnivore (not TYPE 0) show in Essen, Germany back in 2007 where I was invited to by then Carnivore guitarist Paul Bento. The Type O stuff at Wacken 2007 - when I was a guest of my bro Josh Silver looked more complex though.

I am really looking forward to this!!!!!!! Long Live Peter Steele and Type O Negative, Owen bring back the goth broth!!!!!!!!!!!

this channel made me start listening to type o negative. thanks for that

Peter Steele was a big reason for me to start playing bass. I miss their music.

@circle of tone i know how much of a fan you are of type o negative and same as me im a die hard fan. i have used that pedal board pic aswell to get the peter steele tones for my bass on my music... and god damn Owen you nailed it!!! i swear you are right on point... esp the ds-1 he used the vintage ds-1 during october rust and early albums... anything after 2005 was using a new ds-1 ...

I don't know your housing situation, but it would be cool if you did a video comparing/experimenting with feedback and riffing

I don't disagree that metal is dead. I subscribed! Because as long as there are people like us, we gotta keep it alive.