Ōverwhelm - Infinite Love (Full EP Bass Playthrough)

BUY IT ON BANDCAMP: https://overwhelmnm.bandcamp.com/albu...
LISTEN ON SPOTIFY: https://open.spotify.com/album/204ZY7...

This is my band! Or was, anyways. We decided to break up earlier this year, but only after we recorded and released this EP. I'm really proud of the basslines I wrote, though, so I wanted to put out this video in lieu of ever getting to perform these songs live again (in the case of the first three tracks) or ever (in the case of the last three tracks).

0:00 1. Travel
3:20 2. There's More Than One Way...
5:56 3. A Healing Mend, Interrupted
14:05 4. A System Process
18:07 5. Return
21:32 6. Infinite Love

GEAR AND RECORDING INFO:
Audio and video (specifically the wide shot) were recorded concurrently. Some mistakes were overdubbed for the sake of accuracy, other mistakes were left in for the sake of authenticity and for entertainment purposes. I broke recording up into about four chunks (because I love myself). I went direct from the headphone output of a Darkglass Microtubes v2 into an audio interface, using some sort of impulse response by Nolly from the Darkglass Suite—whichever one is the bass cab blended with the guitar cab. I also have mics on the Barefaced SIX10, which has a crossover in which the right column puts out the lows and the left column puts out the rest. I have an SM57 on the right column and an RE320 on the left, blended together on an old Behringer Eurorack mixer. There's also some camera audio in there.

I'm playing an ESP B-206SM with Kalium Strings, tuned to Drop A (A0-E1-A1-D2-G2-C3). I use the neck pickup, except for during the clean part of Return, during which I use both pickups. The onboard EQ and volume are always maxed out. The pick is a V-Picks Psycho Shredder. The volume pedal is a Zeppelin Labs VPM-1, and the tuner is a D'Addario. The dirt pedal is a JPTR FX Jive. The MIDI controller for the head that appears just before the distorted section in Return is a Disaster Area DMC.micro PRO. I'm using the shimmer reverb on the Source Audio Collider for the swells. I have an always-on FEA Labs DB-CL for compression, and some compression and limiting was added in post as well.